January 25, 2024 âą 48 mins
Summary DL Warfield, a creative director and artist, discusses the role of culture in connecting people and shaping identities. He shares his journey in creating the American Flag Remix collection, which explores social narratives through art. Warfield emphasizes the importance of collaboration and inclusivity in the creative community. He also discusses the challenges faced by black artists in the art world and suggests ways to support and promote their work. Warfield believes that art has the power to foster empathy, bridge cultural gaps, and inspire change. The conversation explores the need for massive change, the impact of technology on youth, inspiring and guiding the younger generation, using art to make a difference, the responsibility to mentor and share gifts, leaving seeds for future generations, and appreciation and gratitude. Takeaways Culture is the glue that connects people's passions and interests. Art has the power to inspire, broadcast, and foster empathy at scale. Collaboration and inclusivity are essential in building a dynamic and inclusive creative culture. Supporting and promoting black artists requires education, purchasing their artwork, and creating opportunities for collaboration. Social media can have a negative impact on art and creativity, and it is important to maintain one's vision and not be dictated by algorithms. Massive change is needed to address the current state of society. Technology has a significant impact on the lives of young people, and it is important to have real conversations with them to ensure they are grounded. Inspiring and guiding youth can lead to incredible and wonderful things. Art can be used as a form of activism and to create positive change. It is the responsibility of individuals to mentor and share their gifts with others. Leaving seeds of wisdom and knowledge for future generations is crucial. Expressing gratitude and appreciation for others is important. Chapters 00:00 Introduction and Definition of Culture 03:04 American Flag Remix and Social Narratives 06:12 Evolution of Art and Storytelling 10:52 Creating a Dynamic and Inclusive Creative Culture 13:35 The Concept of Ciphers and Connectivity 18:57 Supporting and Promoting Black Artists 23:42 Navigating Challenges in the Art World 29:00 Art's Role in Fostering Empathy and Unity 32:10 Changing Perceptions and Stereotypes Through Art 35:05 The Impact of Social Media on Art and Creativity 37:03 The Need for Massive Change 38:06 Impact of Technology on Youth 39:02 Inspiring and Guiding Youth 40:01 Using Art to Make a Difference 42:23 Responsibility to Mentor and Share Gifts 45:29 Leaving Seeds for Future Generations 47:33 Appreciation and Gratitude JOIN THE NEWSLETTER đ« Be the first to hear about behind the scenes, new episode drops and live shows near you! Sign up: https://tr.ee/QJ4c7FUWBj LISTEN TO THE SHOW iTunes: http://bit.ly/3XDA3sl Spotify: https://spoti.fi/3D33sCM JOIN OUR COMMUNITY đž Instagram: https://instagram.com/cultureraisesus đŠ Twitter: https://twitter.com/cultureraisesus đ” TikTok: https://www.tiktok.com/@cultureraisesus ABOUT US Culture Raises US. It isnât just something weâre impacted by, itâs also something we can impact. As empowered stewards of Culture, itâs time to get smart on how we can continue influencing society while breaking new grounds. On Culture Raises US, Astor Chambers invites you to join for honest, insightful, and challenging conversations with pioneering cultivators across music, fashion, tech, sports, art, and entertainment.
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
To who much is given, much is required. Part of
that requirement is sharing. Culture is the heartbeat within our lives,
and it's at the core of so many things. While
we live in a time when we are starving for wisdom,
I welcome you to your wisdom retreat that culture raises us.
DL Warfield today's guest is I call him a creative's
(00:24):
creative who's had a relentless approach to branding people, places
and things. He's the owner of our Goldfinger, which is
his creative directive service company, and has an illustrious, illustrious
career in the music industry, having worked with the likes
of outcaz Ti tlc Usher. To meet a few before
(00:45):
I have him kind of give us a little bit
more about his background and his journey. We'll start with
the question that sets to tell bro, when you hear culture,
what does that mean to you?
Speaker 2 (00:56):
You know, nowadays you have to be careful on who
you're hearing the reference of culture from, you know, because
they sometimes they tend to make it very cliche. But
you know, I think that culture has always been the
glue that connects our passions, our interests, you know, and
things of that nature, and so I don't, you know,
(01:18):
like now, you know, I think sometimes people use it
in a stereotypical way, but I think it's I think
it's bigger than that, you know. And being like a
guy that has like a fine art background, like culture
pretty much was like you know where you're going and
what you're reading and things like that. But I think
it's really I look at it, it's the glue that
connects the spirit of who we are as a people.
Speaker 1 (01:39):
I like the glue. What's the stereotypical definition that you're referencing.
Speaker 2 (01:43):
Black, like be doing this, but a culture that means
black folks, you know what I mean, just like how
you know with some brands like multicultural just meant black,
you know. But now it's bigger than that, you know,
it's bigger than that. I think it. Uh, And I
can't I couldn't even say, like I said, you nine
are from for a mindset standpoint, because you know, a
(02:04):
lot of people have a different different mindsets of different
views on anything. But you know, the common thread that
runs through I think is the it's the culture that
binds us together or connects us together.
Speaker 1 (02:16):
Yeah, and but and in that is you talked about
the stereotypical one is that, and I'm just playing Devil's advocate.
There's a point within that where you have to look
at it and look at the influence that the black
culture plays within these other cultures that might be discussed.
Speaker 2 (02:30):
Correct. Yeah, Okay, now I love I would you know,
I would definitely agree to that. Yeah.
Speaker 1 (02:36):
You know, I've had the pleasure of obviously knowing you
for through very little time. That goes back to I
think even you la face days and right. Your work
has always been super super impactful to me, you know,
and I'm actually fortunate enough to have some of your artwork.
And as I look at your journey of shaping culture
(02:58):
as we know today through your visual gifts, I've seen
this constant like evolution of how you're creating, you know,
or crafting I should say, your ability to tell stories
and your artists often been recognized where it's like flinging
exploration of social narratives. And one of my favorite collections
was actually from your American Flag remix, which I don't
(03:20):
own yet. We're working on that, like Joe, Yeah, let's
go tell me about how that aimed to kind of
provoked this meaningful conversation and reflections through your creative expression.
Speaker 2 (03:33):
You know. So I started making like American flag remixes
in twenty twelve, and it's stemmed from a conversation that
I had with one of my mentors named Mark Scott Carroll,
you know, the first black graphic designer that I ever met.
But it's stem from a conversation that we were having,
and you know, it was, you know, we were talking
(03:53):
about like the ridiculousness of reality shows and a lot
of times like how you know, like they portray, you know,
intentionally portray African American people, and so you know, I
was like, man, we don't live in the United States
of America. We live in the United States of Entertainment.
And we both started kind of laughing about that, you know.
So then I was like, man, I should make a
(04:13):
flag about that. And this is just kind of like
through the conversation, you know, And so I started down
this journey of you know, like you know, relentless note taking,
which I take a bunch of notes, a bunch of
sketches and things like that, you know. But the first
thing that I thought of is like, man, like if
I was to make a flag about hip hop or
rock and roll, like what would those look and feel like?
(04:34):
You know. So the first flag that I made was
the United States of rock and roll, you know, and
I wanted the flags to speak to the good, bad
and indifference of you know, of how people feel about America.
You know. It's like, you know, like we're not we're
not all bad, you know, but we're not all good,
you know, And so I wanted to speak to the
(04:55):
honesty of it all. So the first one I made
it it was strictly about just you know, the way
rocket roll music felt, you know. And so I made
it out of Levi's denim and leather, used filament lights
to kind of like spread spray out the stars. And
this one was like the very first lustle It was
a little bit more cruel than how you know, like
(05:15):
you could actually see and feel in touch like the
final delivery right now. And so you know, I did it,
and I like, you know, hashtag Levi's and things like that,
and so a former executive from Levi's seen it and
bought it, and I was like, damn, you know, I
mean it was it was one of the fastest like
peace completion to market to sell that I ever had,
(05:38):
you know, Wow, and so you know, and then I
just started building it, you know. And some of them
speak to social issues and some of them are just cool,
you know. Some of them speak to brands, and you know,
to me, like utilizing like the thirteen stripes and the
fifty stars, like that's the construct of America. That's the
(06:00):
composition that we could all agree on, but it's not everybody's.
But when you get to the ecstatic, like to me,
that's when I defined or I really speak to different
people's experiences and things like that, you know. And so uh,
that's what the American Flag Remix does. In twenty thirteen,
I'm proud to say that I got the trademark on
(06:20):
the word American Flag Remix. Oh dope, that's grat so know, yeah,
and I A and I just got the trademark on dope.
Also like my dough farts stuff. I love that when
I was saying that because you just said dope. But no, no,
it cut no no pun intended, un punt intended, you know.
And it's crazy because as I look at all the
different versions, You're right, I forgot about the Levi's joint
(06:43):
because when I think about that flag, I think about
the Matt Black Joints that you did some with the speakers.
Speaker 1 (06:51):
They they were just so bold, so bold. And then
you know, even for me, Bro you were talking about
the commonality for everybody on the flag of thirteen stripes
and fifty stars, but then your interpretation of it that
you create with your craft and your art is different
for every piece.
Speaker 2 (07:08):
Correct.
Speaker 1 (07:08):
I'm even thinking about myself in the journey with the
American flag and it's construct of today.
Speaker 2 (07:14):
And I got completely honest with you.
Speaker 1 (07:16):
For years, pre pre Obama, I would see a flag
and not think anything of it. The American flag would
be up anywhere, schools, right on neighborhoods, people's homes, and
I would think nothing of it. It just meant that's
the American flag. Right truck comes into office. If with
the minute, I see now flat and this is just
(07:38):
me And I don't know if this is anybody else.
When I see American flags like waving outside of somebody's own,
my first inclination is, for some reason, that might be
a truck. And I don't know if it's me. I
don't know what it is, but something's changed.
Speaker 2 (07:53):
Yeah, Like I don't think, uh, I don't think that
it's just you because I felt the same way at
different times, you know, and so you know, even uh,
I mean that's that's like honest, and so to me,
like that speaks to like what the American Flag remix
is about. And I think, like, you know, one thing
that Trump did and I know, like I got a
(08:14):
I got a homeboy that I played football with, John Klosky,
like I just made a flag for him. And his
goal is to take the whole feeling and energy of
the flag back from the magaz style of Republicans, and
which I think that's a great notion. And it's like,
you know, to me, uh, you know, like when he started,
(08:37):
like you know, with specifically Donald Trump, like when he
kind of started going down the pathway of really separating
us versus them, you know, and a lot of uh,
you know, your your racist ideological Americans started really tapping
into that, and and and uh showing up at his
(08:57):
rallies with the flag American flag and the Confederate flag
like right next to it. I was like, you know,
how much of an oxymoron is that? Because those two
flags fought against each other. So I thought it took
it to some whole other stuff. But you know, but
you know, but I do agree, and you know, like
what I mentioned earlier, you know, the flag, the American
(09:18):
flag remixes, they speak to the good bad in a
difference of America. I mean, yeah, Like, you know, I
think what he did in the tonality that he set
and some of the some of the some of people's
feelings that he unearthed, you know, were definitely extremely negative,
you know. But then at the same time, you know,
(09:39):
you feel a certain way when you see the United
States for about one hundred meter relay running around the track,
app that they just broke the uh the world record,
you know, in a ree right, So it's kind of
it's kind of like both. But you know, I definitely,
you know, I agree with I agree with what you're saying,
and I think that you know, uh, you you know,
(09:59):
when you think about it. Then I asked, you know,
when I was telling you that I was kind of
like experiencing the same thing that you felt, I was like,
you know, would I probably want to be on any
other country on the planet. Probably not? So, yeah, So
I think, you know, we have to have conversations with
(10:20):
people that you know, obviously we love and care about,
but that also people that we don't necessarily agree with
because a lot of truths are universal, you know, it's
get to those truths. And I think that at the
end of the day, I think most people really just
care about being able to live their life in peace
(10:41):
and the present preservation and being able to provide and
protect their family. Like I think that's the thing that
we could all agree on, just like we could all
agree that American fleshists fifty stars.
Speaker 1 (10:51):
Yeah.
Speaker 2 (10:52):
So I think like when you start breaking down like
those barriers you know of just you know, religious perspect
and and you know, political perspectives, I think that you
start to see that we're more alike and more connected
that we actually think that we are.
Speaker 1 (11:10):
Well, you know, it's so crazy, you know, I think
as an artist and the creative director, you obviously engaged
with multiple artistic mediums in you know, sharing your craft,
and I got to think that you have to believe
that this multifaceted approach definitely contributes to building a very
dynamic and inclusive creative culture within the wider artistic community.
Speaker 2 (11:33):
Right now, I agree one hundred percent. And you know,
like when I was in art school, I got my
degree in painting, you know, but one thing that I
didn't understand and I didn't like is that the painting school,
like find our school, was separated from the design and
advertising school, you know, and that was kind of separated
from photography and sculpture was on his whole, you know,
(11:56):
a whole different thing. And I was like, man, it
should really be connected, because that's the way that we lived,
you know that you know, a great a great painter
could help make a great advertising campaign for a brand
even better, you know, but it was so separate, and
you know, like with you know what, with myself, you know,
like I've had plenty of people, you know, on the
(12:17):
brand side and in the fine art world say that
I should kind of stick to one thing and do
one thing, you know, and I've tried at different times,
but like that's not the way that I'm built.
Speaker 1 (12:27):
You know.
Speaker 2 (12:28):
I work on a bunch of different bodies of work
at the same time, because I work on what's moving
me and inspired me at the moment, you know. And
I couldn't do it, you know, any other way. I
know other people that can, but that's just not the
way that I'm wired. And so, you know, going back
to you know what you were saying about the creative
direction of the fine art and inclusivity. I was like,
(12:51):
it should it should always be that way, like I did,
Like yeah, like one of the things that you know,
I hope I do before I leave, Deserve is really
helped to break down the uh, the narrative of what
an artist is, you know, and like when I was
in school, like an artist was a guy with a
bereat or hat like this, maybe with a cigarette about,
(13:11):
you know, a bottle of wine and just kind of
walking around with a pipe brush. And it's like, nah,
like an artist is more than that. Like an artist
is that, But an artist also designs Nike also designs
the iPhone branding, and he helps to you know, to uh,
you know, help visualize like what new community develops and
(13:32):
things new to the community develops and things like that.
Look like so to me, like that's an artist that
I think, like, that's the type of artist that I am.
Speaker 1 (13:40):
Yeah, then you are when thousands per cent, I think
that's a great segue into your most recent project of
the ciphers, and and so what brought that about? I
mean I have a sense of what what brought about
what I'd love to you, Yeah.
Speaker 2 (13:53):
Because I mean we had we had a conversation like
when I was you know, early like within the process.
Speaker 1 (13:58):
Oh and you were so type brot me. You were
in a candy store bro.
Speaker 2 (14:04):
With this idea. Man, I was like, you know what.
So going back to like my whole origins is just
like you know, a young man growing up in Saint Louis,
Like I was a breakdance so I was a b
boy before that and along that timeline, like I was
also like a graffiti artist, you know, I was a
terrible rapper, you know, and so I was really like
(14:27):
into hip hop. Like I remember, you know, like the
first time that I heard Grandmaster Flash and the Furious five,
the Message. I remember the first time that I heard
run dmc sucker and seeing in the back of my
homeboy Patrick Bridges car, Like I remember, I remember these things,
and I remember like how it made me feel. I
remember like the anticipation of going to like you know,
(14:51):
like underage clubs you know at that time, and battling
other you know, other breakdance crews and things like that.
And so I've always thought about like how how could
I create something portray like the four elements of hip
hop really specifically at first, like breakdance and in a
way that just doesn't feel like that's a picture of
(15:12):
a breakdancer, you know. And so you know, obviously cipher,
Like if you know anything about hip hop, you know
about B boy Cipher's and you know about you know,
rap battle ciphers and things like that, and so you know,
when I think about cipher, I think about the energy,
and I think about the pattern making process that dancers create,
(15:35):
especially like if you're looking at them over top, you know.
And so cipher, yeah, cipher is an Arabic word, you know.
And so even when I started thinking about the artwork
and the imagery, then I started thinking about uh, just
Islamic symbolism and sacred geometry shapes and things like that.
(15:56):
And then I started just really thinking about like mandola patterns.
So you know, I wanted the artwork to play a
little bit of odd tricks, you know, with you when
you look at it. I didn't want it to be obvious,
you know. So I was like, Okay, let me figure
out how to make a pattern out of these dancers.
And I started photographing dancers, you know, over a year ago,
(16:20):
you know. Then I started photographing graffiti artists and things
like that. And the goal was, you know, can I
make these feel like patterns and shapes that you would
not under you know, that you would not get when
you first see it. So even if it's in discovery,
in Discovery absolutely, so that's like that's a local Alattin
(16:40):
dancer name full Metal, you know, and you know, and
so I really thought through that and then it's just
been a journey. I mean, you know, like how the
creative process takes you down a rabbit hole. So then
I started reading about like Nikola Tesla just you know,
all different other types of things, and I was like, man,
let me stay focus, you know, but it really speaks
to that. And so ultimately, like I think the body
(17:03):
of work addresses connectivity in the spirit of competition, you know.
And so I started photograph and you know, dancers and
and graffiti artists, initially at some MC some famous like
when I see in you you know, like I got
an opportunity to photograph Chuck d from Public Enemy, you know,
was my playlist, you know, when I was playing football
(17:24):
in college. Uh, but I got to photograph him.
Speaker 1 (17:28):
Uh.
Speaker 2 (17:28):
I photographed Ti and his and his son DEMONI Uh,
I got a bunch of other people's scheduled, you know,
But then I started photographing like fighters, you know, like
boxes and MMA artists and track and field athletes, because
you know, when I was a breakdancer, you had to
have courage to get in that circle, you know, courage,
(17:50):
but you had to have courage, you know. So everything
that you practiced for the last two weeks, do you
have the courage to hop in that circle and show it?
And so but when you end that circle, like it's
almost like you lose track of time, and everything is connected,
whether you dance it along with other dancers and y'all
just passing it around, whether you're battling somebody. And so
to me, I think fighters it's the same thing, you know,
(18:14):
and even tracking field athletes, like it's the same thing.
You know. It is strategy and things that go on
in both sports. And so you know, that is what
I've you know, kind of like opened up the subject
matter too. But again, like I'm extremely excited, you know,
or the response has been very very powerful, and you know,
like right now I'm just figuring out what is the
(18:36):
best way for me to display or show like this
body of work because I believe that it can only
be seen together, you know. Yeah, yeah, and it can't
be I can't separate it. So well, well to do
that process, now.
Speaker 1 (18:48):
Yeah, you can't separate it because that's part of the
theme of the essence of what you created. You've said
it to sell it that when it's in this sight
for this is connectivity. And you were just talking about
these different areas. The cipher has resonated. I'm now thinking, wait, actually,
this cipher concept is even bigger. This cipher concept is
something that should come into corporate boardrooms. It's erect cat,
(19:10):
campaign development, it should come into team building, all these
different things.
Speaker 2 (19:14):
It should be these you notice, is what I do.
Bro On, I'll sell that what you do.
Speaker 1 (19:21):
But but this is why, you know, as as I'm
listening to your definition this, you're creating a culture of
connectivity that everybody should be entering into ciphers together in
all facets of life.
Speaker 2 (19:33):
Agreed. Agreed, Because man, it's like the people like and
I addressed this like I had a retrospective our show,
you know, like you know, a while back, like in October,
and one of the things that I addressed the whole
crowd because man, I had, my kindergarten teacher showed up,
(19:54):
you know, like a bunch of my mentors, my godfather,
my mom was there, you know, my wife fluent, like
my high school art teacher, my high school journalism teacher,
the chaster from my university. And they asked me. They
was like, you know, how could you do with what
you you know, what you did and how what kept
you going? I was like, man, like all of the
people in this room like they were they were not
(20:16):
They would not allow me to fail. So how was
never scared? Because everybody was always you know, pushing me forward,
you know. And so like that that connectivity, uh conversation,
you know, like I believe like you don't. You don't
get anywhere by yourself, you know, and so that that connectivity,
uh that you know, people extending things for you and
(20:39):
giving you a hand, and you planed it, forward it
and you passed that energy around. Like that's what the
cipher is all about.
Speaker 1 (20:45):
I love it.
Speaker 2 (20:46):
You know.
Speaker 1 (20:47):
As a black artist, I would think, who's on a
mission to kind of convey unique experiences through art? What
challenges have you encountered in navigating kind of this art world?
And and if these challenges kind of influenced the themes
and the messages of your work.
Speaker 2 (21:05):
You know what, I think, like the challenges that I
had faced in the art world, I think it probably
speaks more to the infrastructure, you know, and the political
side of actually doing business, you know, in the art world.
You know. And so it's like the art world is
a whole nother animal. But but I think the art
(21:25):
community and art collectors like they kind of like go
in and out of it. And so you know, like
I did, I did a show in uh twenty eighteen,
uh and it was called Favorite Things, and it was
probably like my biggest show, you know, it was kind
of it was a collection of a bunch of things
that I've done over the years and I just had
them all atle on space, you know. And as successful
(21:48):
as that show was, you know, like for the most
part financially and through you know, social media imprints, that
same week, like I got rejection letters from Diferend, Galfrees
and things like that. You know that I'd reached out
to it by carrying my work, you know, and so
you know, I could take that and I can look
(22:09):
at it in a in a in a way that
I feel defeated, you know, and I feel that the
world is against me, especially the art world. But the
way that I look at it is like, you know,
just like playing sports, like let me go figure out.
I'm gonna go around it. I'm gonna go over it,
and I'm gonna go through it. And so you know,
like with the thing with the with the adversity that
(22:29):
I faced, I've always pretty much pushed through, you know.
And I and uh you know, and uh not, you know,
tried my best to not define my success and my
journey by anything that I see reader here, and so
I've got around it, you know, with that, And and
I think another thing that kind of helps me that's
(22:50):
almost therapeutic. It's helping like young artists and things like
that navigate around like different situations.
Speaker 3 (22:56):
Also because you know, it is easy, you know, like now,
like with social media influencers and things like that, like
it is easy to feel that you're not on the
right path, you know, and everybody's path and everybody's.
Speaker 2 (23:08):
Journey is their journey. Yeah, and everything we see on
social media isn't real, you know, I don't know. And
so to me, you know, like how I mean, you
have kids and I know, there's been times where you've
been telling and instructing and correcting your kids us up
and he was like, damn, I need to do that myself,
you know. And so.
Speaker 1 (23:26):
We're sharing this insight. A lot of it is reaffirming
for ourselves, like remind ourselves of the work we have
to do.
Speaker 2 (23:34):
Yeah, And so you know, even when I'm talking to artists,
you know, and things like that, like I'll laugh because
I'm like, damn, I should probably take that advice myself.
Speaker 1 (23:44):
No, you know, it's crazy. Let me ask something. So
in your opinion, though, what steps then can the art
community take to kind of better support and promote the
work of black artists in particular, And how can these
efforts kind of contribute to a more equitable and inclusive
representation within.
Speaker 2 (23:59):
The art world. So I think one, it's definitely like
an education process that's been going on for the last
five or ten years with the African American community as
far as like fine art, you know, and the purchasing
of art, because you know, most artists they want to
sell their work, you know, and some artists need to
sell their work to survive. And so, you know, like
(24:21):
I've always felt that, like my competition is not necessarily
other artists, but it's like luxury items, you know. It's
like do I get this painting? I do? I buy
this watch? You know? Do I get this flag? I
do I buy this burking bag? You know? And so
I think, you know, like African Americans, like we're the
number one consumers in the world, you know, but we
(24:43):
should also be the number one consumers of our art
work as well, you know. And so I think the
ways that you know, like the African American community can
support is obviously whether you're purchasing an artist art work,
showing up at an artist show or not. Like, it's
(25:03):
other ways that you know, artists can be supported, like
you know, brand identity campaigns, you know, like like what
if you used you know, an artist artwork, uh, you know,
look on movie sets or in advertising campaigns and things
like that. And then and then also you know, just
really like understanding the financial gains that can be had
(25:28):
with purchasing fine art and it's generation to like, I mean,
it's like when you see, uh, you know, when you
hear about people buying like a Baska for x, you know,
x amount, X millions, or buy the Picasso for x millions,
Like that artwork wasn't X millions when they got it.
If it's real, it's right. You have to understand that. Okay, Well,
(25:48):
you know, supporting this artwork, I mean it's you know,
you're putting money back into the art artists and his community,
but also it could be an investment piece for your family.
So I think that that bit of knowledge, you know,
it's definitely something that I think is extremely important.
Speaker 1 (26:03):
Yeah, a little while ago, you were talking about, you know,
we can't do anything on our own, or that the
power of collaboration. I would I would frame that up
in right and working there yet, is there was there
a particular project that you could remember where you collaborated
with other black artists to collectively kind of express a
shared experience or experiences, and how that collaboration kind of
(26:27):
enhanced the depths and impact of that artistic narrative.
Speaker 2 (26:31):
You know what I would at the top of my tongue,
you know, I would say, like the dope the dope
artwork that I do. Okay, like when I when I
first did it, when I first started creating those pieces,
it was a philanthropic effort. You know, it was a
hip hop fundraiser with one of the guys and Chris Cross.
You know, I didn't have a lot of hip hop
(26:53):
art work at that time, but I was like, the
greatest hip hop word of all time is dope. So
I started doing these pieces, you know. But then I
was like, man, it's it's a great way to collaborate
with other artists, you know. And so I worked with
some amazing artists on these dope pieces as well as photographers,
you know, all Atlanta based. And so twenty nineteen I
(27:16):
did an event and it was called the Dope Show
atl where, you know, I worked with six of Atlanta's
you know, hottest photographers and you know, rented out the
top of a hotel and bucket and literally we just
photographed people sitting on my doat box the whole day.
Like it was. It was catered, you know, it was
(27:36):
sponsored about can Party spirits and I forgot the the
Vaka brand, but it was kid. It was catered by them,
sponsored by them, and it was a great time. I
mean it was literally like people coming in posing and
making art, you know. So it took those pieces and
then I made dope pieces out of those, and then
I worked with artists like Paper Frank and Hobo Inc.
(27:59):
And Melissa Mitchell, Jeremy Brown. I hope I'm not leaving
out to create other dope pieces, you know. And so
you know, artists, it always seems like it's a like
a like a solo like a solo show. But you know,
I wanted to show that artists could actually work together,
(28:20):
and and it did that. You know. It's like you know,
ego lest it's fun, it's you know, it's experimental, and
it's kind of like how we were when we were kids,
you know what I mean. It's like kind of taking
us back to that like just make something cool, you know.
And I've collaborated with a bunch of artists over the years,
and I really enjoyed that process, and to me, it
(28:41):
pushes me back into like my creative direction art direction mode.
Like when I was at the Face, you know, like
I got to work with incredible photographers and designers and
illustrators there, and I really enjoyed that that project. Like
I would be so excited to see like what these
other people would come up with. You know.
Speaker 1 (29:00):
Well, you know you're talking about different communities and different people,
and I would love to hear how you perceive the
role of art in fostering kind of this empathy or
this understanding across different communities, and how do you aim
to kind of bridge cultural gas and foster kind of
a sense of unity through your creative endeavors.
Speaker 2 (29:21):
Man, I think, I think the beauty of art, you know,
like whether it's like you know, visual art or music
is the ability that it has to broadcast and inspire
at scale, you know. And so like when you think
about a lot of simple things like the batman symbol
(29:41):
you know, and you know, and the cross you know,
and what those things mean immediately when you see them,
Like art has the power to do the exact same thing,
you know, And I think that you know, a lot
of times it gives people in underserved, underserved communities the
(30:03):
ability to create something like with their hands at a
at the at the the foundational or the grassroots level
that you know, if it catches fire, you know, it
could inspire all nations, you know, and uh, you know
it's so you know, I mean, for instance, like like
the the image that uh that uh I can't think
(30:26):
of his name, the guy that does obey you know
that did the image. Yes, yeah, I'm just like I
can't believe. I can't, you know, because I'm a fan
of his work, but I can't think of his name
right now. But like that image of Barack Obomba that
he created, I mean that that image was extreet shipherd
fair just think you pretty such he we was googling
(30:46):
it fifty five. I gotta write everything down, bro. But
uh but yeah, but like that image, like he did
an incredible job and it just meant so much when
you've seen it, like it looked like hope. Yeah. And
so to me, like that is what that is what
art can do, you know. And then I think also,
you know, when I talk to kids, you know, I
(31:08):
tell them that everything that they own, everything that they
look at, was created by an artist. And so to me, kids,
I haven't met a kid that didn't have an idea,
you know. And so to me, like, if you have
an idea that kind of came out of nowhere, I mean,
it comes from somewhere, but you kind of develop things
(31:28):
out of nowhere. Like I think that that is the
beginning of the definition of you becoming an artist. You know.
Now it might not be painting, and it's right not
be sculpture, but the ability to think and problem solve
and get to a solution. I think like the artists
within that, and so that is something that I also
(31:48):
think like within communities, especially like with young people, like
showing them that if they have a creative spirit, they
can impact and change the world, you know, And to me, like,
that's what the that's another one of the powers that
you know, art has, which you know what I said,
the ability to aspire to inspire and broadcast that at scale.
Speaker 1 (32:10):
And still no, so you get the power and you
get the magnitude. So with that, what kind of perceptions
or stereotypes or narratives do you aim to kind of
change or evolve through your gift and craft of art?
Speaker 2 (32:28):
You know what, like things that I have addressed through
my work, because like sometimes I'll do things that speak
to social issues, and like I mentioned, sometimes I do
things like that all black American flag is just cool.
But you know, like one of the things that I
did is did a show on like in twenty sixteen.
The name of the show was called My Boyfriend Is Black,
(32:51):
And the show was inspired by me and my wife
growing up in Saint Louis and we've been together since
nineteen eighty five. And so you know, we met high school,
and you know, uh, the odds were heavily against us,
like like Saint Louis was very segregated. You know, certain
areas were extremely racist, and uh so we would kind
(33:14):
of have to be careful like where we would go
at times, you know. And so you know, like everybody
has heard the uh or heard versions of like you know,
a like a regular you know, a regular interracial couple
with just like you know, just myself and my wife.
It is it's it's you know, it's an issue. But
(33:35):
if I was Michael Jordan or a celebrity, then it
wouldn't be an issue, you know. So the artwork really
spoke to America's views on interracial relationships past and present,
you know. But it just wasn't white and black, like
it was just anything that was probably taken. Uh you know,
if you looked at it, it wouldn't be your stereotypical
(33:56):
norm you know. And what was cool about that is
that I did the show, you know, and I advertise,
you know, you know, promote our social media and things
like that. But I had a bunch of people that
came from out of state that I have never met
because they have never seen anything that really spoke to
them and their dynamic and their relationship like that. So
(34:20):
that was very that was very inspiring and rewarding, you know.
And it was just a little bit of therapy for like,
you know, like me and my wife and everything that
we had gone through and experience and just to fight
to stay together, you know. You know, I think that.
And then I did a show in twenty nineteen and
it was called A Million Likes, and that was about
(34:42):
it was. It was sarcasm and satire, but it was
really speaking to people, you know, losing themselves and their soul,
you know, getting caught up in just like celebrity and
do things for the grand you know. And so like
when I look at where we are now, and especially
like with artificial intelligence and things like that, I'm like, man, like,
(35:03):
we're going We're going the wrong direction fast. And I remember,
like in a brand book, I think it was probably
like two thousand and like right around on Facebook and
my Space was really starting to bubble. I think that
might have been two thousand and three or you know,
something like that. But I wrote in this brand book
that I created, I was like, social media will eventually
(35:23):
decide the fate of everybody. Oh and I remember and
I had a pitch meeting with like I think it
was folks at Coke and one of the execus like, yeah,
you should probably take that out because you know, like
we're really into you know, like social media and things
like that. And when I'm look at where we are now,
I'm like, jeesus, you know.
Speaker 1 (35:42):
Yep, no, you're wrong with something.
Speaker 2 (35:44):
Enter.
Speaker 1 (35:44):
You know, it's crazy when you talk about the impact
of social media and the fact that it's a contrived
face of content, right, it's a very manipulated one by
those at Instagram, at these platforms, right, they're dictating what
you can see when you can see. And I'll tell you, man,
my guy gathering over at Supervision, great brand, great dude,
(36:05):
great creative, great artists, great visionary. I mean he had
a campaign recently at the end of last year and
he set something vision over algorithm. Yo, maintain your vision
and don't let it be dictated by the algorithm, because
so often we get caught up in oh my gosh,
nobody liked my nobody liked this picture, nobody liked us comment,
(36:28):
nobody liked this service, you know, on my social so
means it's not it's not right, it's not good, it's
not worthy. No dog, keep moving on your vision and
don't let the algorithm dictate the impact that you think
and know this should have because all these social platforms
are contried platforms that are being manipulated by others behind
(36:51):
the scenes to dictate who they want to put on
the platforms and win correct.
Speaker 2 (36:57):
And you know, like when you when you see now
news feeds and things like that on what TikTok shows,
you know, people in America versus in China, you know,
and you like, and even when you share that information
with people in America, like they nobody acts accordingly, like
let me clean it up, like they're still doing it
(37:17):
for the likes. And it's like that is mind blowing
to me. Yeah, ye mind going to me. So it's
like I don't know, you know, Like I mean I
jokingly say this, you know, but but I'm seriously when
I say, it's like the only way that we could
you know, of course correct? I think like where we
are right now is an alien invasion? How about that?
(37:40):
Like that super Dan Joe wa Like yeah, like it
has to be something that massive because if not, it's
it's like it's like the wild wild West. Man is
like stuff is all over the place, things that you
see and you don't read. It's like they making fake meat.
You know what I mean? Ye is the world is.
(38:00):
We have some real interesting times right now. Aster, Hey,
what are the ages? What are the ages of your kids?
Speaker 1 (38:06):
So my oldest is eighteen, my middle is sixteen, and
my youngest is eleven?
Speaker 2 (38:10):
All girls, So the eleven and sixteen, like I know that,
you know, like you could have better you know, you
can have more serious conversations with your oldest, but eleven
is sixteen. Like they probably really look at like social devices.
I mean, you know, like, oh.
Speaker 1 (38:24):
No, they're on their phone. I mean it's it's a
ridiculous the amount of time and energy and consumption that
just that phone and all those platforms have in their
lives and what they're trying to gravitate to. And that's
why I try to have as many real conversations with
them as possible to ensure that they are grounded and
(38:44):
they're not be led and dictated by the algorithm.
Speaker 2 (38:47):
Correct, I think, I mean boys are effected. I think
it affects girls uh more, but everybody is affected. So
I think, yeah, you really have to have like great
dad conversations. Oh Likesdent you got to be president.
Speaker 1 (39:02):
You got to be president. So you know, we we
we've talked about your you know, artistic gifts and how
you kind of express them, but but how do you
ensure that you're using them as a form of being
a changeing it? And like for collective betterment. I always
like to say worldly collective betterment.
Speaker 2 (39:21):
Like honestly, like I uh like the effort that I
put in with the youth, you know, I think it's
it's the youth because sometimes you know, like people that
are our age or maybe even a little bit younger,
like you can't You're not going to get them to
change your mind, you know, but you can. You can
inspire kids to do incredible and wonderful things, you know,
(39:44):
And so uh, you know, like I like for years,
you know, like I coach sports, you know, like I
coached you know, like my son all the way now
you know he's playing sports in college, but you know,
like I coached track and field, yeah, football, like I
helped lacrosse and just mess speaking to them kids and
getting them to believe in themselves and letting them understand
(40:05):
that anything is possible, while you know, teaching them to
be accountable, you know, and and letting them understand that
nobody in the world really cares about your excuses, you know,
and say uh. And so I thought that, like I
really took a lot of pride in that, uh. And
I know that, like I impacted a lot of young
(40:26):
people's lives through that. And now, you know, like I
do a lot of creative work, you know, with the
Boys and Girls Clubs of Southeastern Michigan. And what I
love about that is I'm able to create things that
make the kids eyes light up when they walk through space,
you know, because you know, like how if you if
(40:47):
you ever did after school programs and things like that,
Like you know how it was when you kind of
walk in there and it's like everything is drab and
sometimes the counselors don't even want to talk to you,
and you how that feels. I was always like, man, like,
if the kid walked in and felt like he was
in a superhero movie, would that changed the way that
he thought about himself with that give him a whole
(41:08):
different energy? Because I know the power that images have
to create and inspire people, you know, I did like
like a year's I would call it a year residency
with them, like working on their brand and helping them
kind of create like new tools and imagery and assets
and a little bit of creative strategy. And what I
loved about it is it combined like all of my
(41:30):
passions from kids, you know, youth, sports, entertainment and art,
you know, and so like, you know, I make sure
that you know, within that like they you know, within
the aesthetic, like they get its little nuggets that are
buried into the design of things like that that make
them try to figure things out and learn things, you know,
(41:51):
because I think, you know, the best learning comes from discovery,
you know. Yeah, and act so yeah, yeah, and so
I think I think it's that you know, and I
think all so just the conversation of an artist. You know,
you can do anything, you know, but you get pay anything,
you know, And so to me, like that is that
that is kind of like my social charge on how
(42:12):
I feel like I could really you know, like making
make a difference because I know that I have a
gift to connect with kids. Uh, if you had asked
my wife, she would say that I'm still a kid too. Yeah,
but uh and it's like and honestly, you know, like
I enjoyed being around like young people and having conversation
with kids and hearing what they think about things. You know. Uh,
(42:35):
you know, so I think that to me, like that
whole energy and experience and those times are super dope. Yeah.
Speaker 1 (42:41):
I think it's also to that degree deal. I think
it's part of our responsibility as as you know, children
of God who've all been given these gifts, and these
gifts are meant to be shared with many others and
some unfortunately don't get shared at all.
Speaker 2 (42:55):
Correct.
Speaker 1 (42:56):
But for you, somebody who's obviously tapped into the gift
that God is in you. I meant part of the
role and the responsibility is to engage with those younger
than you who have not been through as many things
or any of the things that you've been through to
date that you can now inform them of so that
their trajectory can be supercharged. Yes, from that of what
(43:19):
you went through. There's no way, there's no way any
youth who has access to you, or has around you
or knows you, there's no way that they should come
and encounter the same hurdles, challenges, obstacles that you did
without you providing them the nuggets of here's how I
maneuvered through it. Here's what you probably could do it
(43:42):
when you encounter it, so you can do it a
lot smoother quick like that's part of your responsibility.
Speaker 2 (43:47):
Gru'mu no, I agree with one hundred percent, because like
we're all like one left turn away from our lives,
a manly different situation where it is they know one
like I remember, you know, like I grew up you
know for the most part, like single parent home, you know,
between my mom, my aunt and my grandmother, you know.
(44:07):
And man like my godfather, like the energy and time
that he put into me, you know, like everything that
I learned about being a being a man, especially like
in the construct of my family, I learned from him,
like he had read artists, you know. And then it
was a bunch of guys in the neighborhood and he's like,
you know, you run a track, you ain't missing practice,
(44:28):
you know, like that tough love things. I mean, man
like this dude, like he did like literally like he
was my he was my uh he was he was
definitely like my father figure man and uh and so
but he didn't have to do it. You know what
I mean. You had a wife and he had kids,
and he had his own things. But man like he
like he invested in myself, like he invested in so
(44:50):
many young men, you know. So shout out to mister
King if you watch this. But uh, it's and so
like I feel, I feel the exact same way, like
I feel like it's my respect OT's ability to uh
like I've knowed, I know how far a conversation can go. Yes, yeah,
I know. I know the death is that it makes
(45:10):
man just the conversation or the time of day, Like
I know how like little things like that that don't
cost us anything could change the world for.
Speaker 1 (45:19):
Somebody, change the world for somebody and somebody's around them.
Yeah right, because you're helping to unlock that potential gift.
And it's such a great segue into you know, we
always end the sessions with talking about you know, what
are the three seeds you want to leave with the
stewarts of culture moving forward? You know, very much like
farmers right with a seeds plan. So I'd love to
(45:41):
hear from you one of those three things because it's
a great follow up from the sentiment that you just
had or what was done for you and the impact
of a conversation. So one are those three things that
you would want to leave.
Speaker 2 (45:54):
So I would say one, like anything is possible, you know,
anything as possible, like just you know, create is you know,
set your goal sheet, write your goal sheet down, and
just go forward, you know, and do it. And that
leads into like my favorite quote, you know nobody I
(46:15):
think it's a Muhammad I Lead quote. Like I've never
let anybody talk me into not believing in myself, you know.
And so like I would say that, like anything is
possible and write that Muhammad I Lead quote down. My
second thing, man, and this was kind of like somewhat
relayed to me by a gentleman that came to see
me in art instructure school and this, like I like,
(46:38):
this was probably nineteen eighty six, and this stayed with
me forever. He told me, like, if you're an artist,
you gotta let the world know, you know, and so
like whatever it is that you do, don't be afraid
to share your gifts with the world, you know. And
sometimes sharing your gifts can be local, sometimes they can
(46:59):
be global, But don't be afraid to share your gifts
with the world, you know, And I would say probably
the last one. And this relates to every single thing,
like if you give it, if you always give things,
like every single thing you got, God's gonna make it
work out for you. Mm hmm. Man.
Speaker 1 (47:19):
Those are three amazing ones, and I think you know
too many. You're a testament to those things. And I
thank you for being the individual that you are. I've
always had a gravitation towards your spirit, to your energy,
to the things you represent. Will continue to be that,
(47:42):
and just ask that you continue to do the things
that you're doing in the way that you're doing it,
because Bro, it's needed and it's making a difference.
Speaker 2 (47:51):
Man, Thank you very much. And you know my sentiments
are just you know, the exact same ast man. Like
we met, I think we met like right before the Olympics,
you know, like nineteen probably like nineteen ninety six. You
were the second person that I ever met from Nike.
I remember you told you this store actually the yeah,
the second ecing that's right, yeah, yeah, So like I mean,
(48:14):
I'll never forget it. You've been the same ever since then,
Like you've never changed, no matter what business cards you've had,
you know, things like that, like you've always been the
same guy. And I think you know, like you taking
your time to create platforms like this that you know
from what I gather extremely uh you know, position to
aspire other people through the storytelling and experience. I think
(48:36):
it's great, man, So I appreciate what you're doing.
Speaker 1 (48:38):
We truly appreciate your support because it helps us fulfill
our mission of promoting cultural awareness and personal development. Please
click the subscribe button below to help ensure and solidify
our mission.
To who much is given, much is required. Part of
that requirement is sharing. Culture is the heartbeat within our lives,
and it's at the core of so many things. While
we live in a time when we are starving for wisdom,
I welcome you to your wisdom retreat that culture raises us.
DL Warfield today's guest is I call him a creative's
(00:24):
creative who's had a relentless approach to branding people, places
and things. He's the owner of our Goldfinger, which is
his creative directive service company, and has an illustrious, illustrious
career in the music industry, having worked with the likes
of outcaz Ti tlc Usher. To meet a few before
(00:45):
I have him kind of give us a little bit
more about his background and his journey. We'll start with
the question that sets to tell bro, when you hear culture,
what does that mean to you?
Speaker 2 (00:56):
You know, nowadays you have to be careful on who
you're hearing the reference of culture from, you know, because
they sometimes they tend to make it very cliche. But
you know, I think that culture has always been the
glue that connects our passions, our interests, you know, and
things of that nature, and so I don't, you know,
(01:18):
like now, you know, I think sometimes people use it
in a stereotypical way, but I think it's I think
it's bigger than that, you know. And being like a
guy that has like a fine art background, like culture
pretty much was like you know where you're going and
what you're reading and things like that. But I think
it's really I look at it, it's the glue that
connects the spirit of who we are as a people.
Speaker 1 (01:39):
I like the glue. What's the stereotypical definition that you're referencing.
Speaker 2 (01:43):
Black, like be doing this, but a culture that means
black folks, you know what I mean, just like how
you know with some brands like multicultural just meant black,
you know. But now it's bigger than that, you know,
it's bigger than that. I think it. Uh, And I
can't I couldn't even say, like I said, you nine
are from for a mindset standpoint, because you know, a
(02:04):
lot of people have a different different mindsets of different
views on anything. But you know, the common thread that
runs through I think is the it's the culture that
binds us together or connects us together.
Speaker 1 (02:16):
Yeah, and but and in that is you talked about
the stereotypical one is that, and I'm just playing Devil's advocate.
There's a point within that where you have to look
at it and look at the influence that the black
culture plays within these other cultures that might be discussed.
Speaker 2 (02:30):
Correct. Yeah, Okay, now I love I would you know,
I would definitely agree to that. Yeah.
Speaker 1 (02:36):
You know, I've had the pleasure of obviously knowing you
for through very little time. That goes back to I
think even you la face days and right. Your work
has always been super super impactful to me, you know,
and I'm actually fortunate enough to have some of your artwork.
And as I look at your journey of shaping culture
(02:58):
as we know today through your visual gifts, I've seen
this constant like evolution of how you're creating, you know,
or crafting I should say, your ability to tell stories
and your artists often been recognized where it's like flinging
exploration of social narratives. And one of my favorite collections
was actually from your American Flag remix, which I don't
(03:20):
own yet. We're working on that, like Joe, Yeah, let's
go tell me about how that aimed to kind of
provoked this meaningful conversation and reflections through your creative expression.
Speaker 2 (03:33):
You know. So I started making like American flag remixes
in twenty twelve, and it's stemmed from a conversation that
I had with one of my mentors named Mark Scott Carroll,
you know, the first black graphic designer that I ever met.
But it's stem from a conversation that we were having,
and you know, it was, you know, we were talking
(03:53):
about like the ridiculousness of reality shows and a lot
of times like how you know, like they portray, you know,
intentionally portray African American people, and so you know, I
was like, man, we don't live in the United States
of America. We live in the United States of Entertainment.
And we both started kind of laughing about that, you know.
So then I was like, man, I should make a
(04:13):
flag about that. And this is just kind of like
through the conversation, you know, And so I started down
this journey of you know, like you know, relentless note taking,
which I take a bunch of notes, a bunch of
sketches and things like that, you know. But the first
thing that I thought of is like, man, like if
I was to make a flag about hip hop or
rock and roll, like what would those look and feel like?
(04:34):
You know. So the first flag that I made was
the United States of rock and roll, you know, and
I wanted the flags to speak to the good, bad
and indifference of you know, of how people feel about America.
You know. It's like, you know, like we're not we're
not all bad, you know, but we're not all good,
you know, And so I wanted to speak to the
(04:55):
honesty of it all. So the first one I made
it it was strictly about just you know, the way
rocket roll music felt, you know. And so I made
it out of Levi's denim and leather, used filament lights
to kind of like spread spray out the stars. And
this one was like the very first lustle It was
a little bit more cruel than how you know, like
(05:15):
you could actually see and feel in touch like the
final delivery right now. And so you know, I did it,
and I like, you know, hashtag Levi's and things like that,
and so a former executive from Levi's seen it and
bought it, and I was like, damn, you know, I
mean it was it was one of the fastest like
peace completion to market to sell that I ever had,
(05:38):
you know, Wow, and so you know, and then I
just started building it, you know. And some of them
speak to social issues and some of them are just cool,
you know. Some of them speak to brands, and you know,
to me, like utilizing like the thirteen stripes and the
fifty stars, like that's the construct of America. That's the
(06:00):
composition that we could all agree on, but it's not everybody's.
But when you get to the ecstatic, like to me,
that's when I defined or I really speak to different
people's experiences and things like that, you know. And so uh,
that's what the American Flag Remix does. In twenty thirteen,
I'm proud to say that I got the trademark on
(06:20):
the word American Flag Remix. Oh dope, that's grat so know, yeah,
and I A and I just got the trademark on dope.
Also like my dough farts stuff. I love that when
I was saying that because you just said dope. But no, no,
it cut no no pun intended, un punt intended, you know.
And it's crazy because as I look at all the
different versions, You're right, I forgot about the Levi's joint
(06:43):
because when I think about that flag, I think about
the Matt Black Joints that you did some with the speakers.
Speaker 1 (06:51):
They they were just so bold, so bold. And then
you know, even for me, Bro you were talking about
the commonality for everybody on the flag of thirteen stripes
and fifty stars, but then your interpretation of it that
you create with your craft and your art is different
for every piece.
Speaker 2 (07:08):
Correct.
Speaker 1 (07:08):
I'm even thinking about myself in the journey with the
American flag and it's construct of today.
Speaker 2 (07:14):
And I got completely honest with you.
Speaker 1 (07:16):
For years, pre pre Obama, I would see a flag
and not think anything of it. The American flag would
be up anywhere, schools, right on neighborhoods, people's homes, and
I would think nothing of it. It just meant that's
the American flag. Right truck comes into office. If with
the minute, I see now flat and this is just
(07:38):
me And I don't know if this is anybody else.
When I see American flags like waving outside of somebody's own,
my first inclination is, for some reason, that might be
a truck. And I don't know if it's me. I
don't know what it is, but something's changed.
Speaker 2 (07:53):
Yeah, Like I don't think, uh, I don't think that
it's just you because I felt the same way at
different times, you know, and so you know, even uh,
I mean that's that's like honest, and so to me,
like that speaks to like what the American Flag remix
is about. And I think, like, you know, one thing
that Trump did and I know, like I got a
(08:14):
I got a homeboy that I played football with, John Klosky,
like I just made a flag for him. And his
goal is to take the whole feeling and energy of
the flag back from the magaz style of Republicans, and
which I think that's a great notion. And it's like,
you know, to me, uh, you know, like when he started,
(08:37):
like you know, with specifically Donald Trump, like when he
kind of started going down the pathway of really separating
us versus them, you know, and a lot of uh,
you know, your your racist ideological Americans started really tapping
into that, and and and uh showing up at his
(08:57):
rallies with the flag American flag and the Confederate flag
like right next to it. I was like, you know,
how much of an oxymoron is that? Because those two
flags fought against each other. So I thought it took
it to some whole other stuff. But you know, but
you know, but I do agree, and you know, like
what I mentioned earlier, you know, the flag, the American
(09:18):
flag remixes, they speak to the good bad in a
difference of America. I mean, yeah, Like, you know, I
think what he did in the tonality that he set
and some of the some of the some of people's
feelings that he unearthed, you know, were definitely extremely negative,
you know. But then at the same time, you know,
(09:39):
you feel a certain way when you see the United
States for about one hundred meter relay running around the track,
app that they just broke the uh the world record,
you know, in a ree right, So it's kind of
it's kind of like both. But you know, I definitely,
you know, I agree with I agree with what you're saying,
and I think that you know, uh, you you know,
(09:59):
when you think about it. Then I asked, you know,
when I was telling you that I was kind of
like experiencing the same thing that you felt, I was like,
you know, would I probably want to be on any
other country on the planet. Probably not? So, yeah, So
I think, you know, we have to have conversations with
(10:20):
people that you know, obviously we love and care about,
but that also people that we don't necessarily agree with
because a lot of truths are universal, you know, it's
get to those truths. And I think that at the
end of the day, I think most people really just
care about being able to live their life in peace
(10:41):
and the present preservation and being able to provide and
protect their family. Like I think that's the thing that
we could all agree on, just like we could all
agree that American fleshists fifty stars.
Speaker 1 (10:51):
Yeah.
Speaker 2 (10:52):
So I think like when you start breaking down like
those barriers you know of just you know, religious perspect
and and you know, political perspectives, I think that you
start to see that we're more alike and more connected
that we actually think that we are.
Speaker 1 (11:10):
Well, you know, it's so crazy, you know, I think
as an artist and the creative director, you obviously engaged
with multiple artistic mediums in you know, sharing your craft,
and I got to think that you have to believe
that this multifaceted approach definitely contributes to building a very
dynamic and inclusive creative culture within the wider artistic community.
Speaker 2 (11:33):
Right now, I agree one hundred percent. And you know,
like when I was in art school, I got my
degree in painting, you know, but one thing that I
didn't understand and I didn't like is that the painting school,
like find our school, was separated from the design and
advertising school, you know, and that was kind of separated
from photography and sculpture was on his whole, you know,
(11:56):
a whole different thing. And I was like, man, it
should really be connected, because that's the way that we lived,
you know that you know, a great a great painter
could help make a great advertising campaign for a brand
even better, you know, but it was so separate, and
you know, like with you know what, with myself, you know,
like I've had plenty of people, you know, on the
(12:17):
brand side and in the fine art world say that
I should kind of stick to one thing and do
one thing, you know, and I've tried at different times,
but like that's not the way that I'm built.
Speaker 1 (12:27):
You know.
Speaker 2 (12:28):
I work on a bunch of different bodies of work
at the same time, because I work on what's moving
me and inspired me at the moment, you know. And
I couldn't do it, you know, any other way. I
know other people that can, but that's just not the
way that I'm wired. And so, you know, going back
to you know what you were saying about the creative
direction of the fine art and inclusivity. I was like,
(12:51):
it should it should always be that way, like I did,
Like yeah, like one of the things that you know,
I hope I do before I leave, Deserve is really
helped to break down the uh, the narrative of what
an artist is, you know, and like when I was
in school, like an artist was a guy with a
bereat or hat like this, maybe with a cigarette about,
(13:11):
you know, a bottle of wine and just kind of
walking around with a pipe brush. And it's like, nah,
like an artist is more than that. Like an artist
is that, But an artist also designs Nike also designs
the iPhone branding, and he helps to you know, to uh,
you know, help visualize like what new community develops and
(13:32):
things new to the community develops and things like that.
Look like so to me, like that's an artist that
I think, like, that's the type of artist that I am.
Speaker 1 (13:40):
Yeah, then you are when thousands per cent, I think
that's a great segue into your most recent project of
the ciphers, and and so what brought that about? I
mean I have a sense of what what brought about
what I'd love to you, Yeah.
Speaker 2 (13:53):
Because I mean we had we had a conversation like
when I was you know, early like within the process.
Speaker 1 (13:58):
Oh and you were so type brot me. You were
in a candy store bro.
Speaker 2 (14:04):
With this idea. Man, I was like, you know what.
So going back to like my whole origins is just
like you know, a young man growing up in Saint Louis,
Like I was a breakdance so I was a b
boy before that and along that timeline, like I was
also like a graffiti artist, you know, I was a
terrible rapper, you know, and so I was really like
(14:27):
into hip hop. Like I remember, you know, like the
first time that I heard Grandmaster Flash and the Furious five,
the Message. I remember the first time that I heard
run dmc sucker and seeing in the back of my
homeboy Patrick Bridges car, Like I remember, I remember these things,
and I remember like how it made me feel. I
remember like the anticipation of going to like you know,
(14:51):
like underage clubs you know at that time, and battling
other you know, other breakdance crews and things like that.
And so I've always thought about like how how could
I create something portray like the four elements of hip
hop really specifically at first, like breakdance and in a
way that just doesn't feel like that's a picture of
(15:12):
a breakdancer, you know. And so you know, obviously cipher,
Like if you know anything about hip hop, you know
about B boy Cipher's and you know about you know,
rap battle ciphers and things like that, and so you know,
when I think about cipher, I think about the energy,
and I think about the pattern making process that dancers create,
(15:35):
especially like if you're looking at them over top, you know.
And so cipher, yeah, cipher is an Arabic word, you know.
And so even when I started thinking about the artwork
and the imagery, then I started thinking about uh, just
Islamic symbolism and sacred geometry shapes and things like that.
(15:56):
And then I started just really thinking about like mandola patterns.
So you know, I wanted the artwork to play a
little bit of odd tricks, you know, with you when
you look at it. I didn't want it to be obvious,
you know. So I was like, Okay, let me figure
out how to make a pattern out of these dancers.
And I started photographing dancers, you know, over a year ago,
(16:20):
you know. Then I started photographing graffiti artists and things
like that. And the goal was, you know, can I
make these feel like patterns and shapes that you would
not under you know, that you would not get when
you first see it. So even if it's in discovery,
in Discovery absolutely, so that's like that's a local Alattin
(16:40):
dancer name full Metal, you know, and you know, and
so I really thought through that and then it's just
been a journey. I mean, you know, like how the
creative process takes you down a rabbit hole. So then
I started reading about like Nikola Tesla just you know,
all different other types of things, and I was like, man,
let me stay focus, you know, but it really speaks
to that. And so ultimately, like I think the body
(17:03):
of work addresses connectivity in the spirit of competition, you know.
And so I started photograph and you know, dancers and
and graffiti artists, initially at some MC some famous like
when I see in you you know, like I got
an opportunity to photograph Chuck d from Public Enemy, you know,
was my playlist, you know, when I was playing football
(17:24):
in college. Uh, but I got to photograph him.
Speaker 1 (17:28):
Uh.
Speaker 2 (17:28):
I photographed Ti and his and his son DEMONI Uh,
I got a bunch of other people's scheduled, you know,
But then I started photographing like fighters, you know, like
boxes and MMA artists and track and field athletes, because
you know, when I was a breakdancer, you had to
have courage to get in that circle, you know, courage,
(17:50):
but you had to have courage, you know. So everything
that you practiced for the last two weeks, do you
have the courage to hop in that circle and show it?
And so but when you end that circle, like it's
almost like you lose track of time, and everything is connected,
whether you dance it along with other dancers and y'all
just passing it around, whether you're battling somebody. And so
to me, I think fighters it's the same thing, you know,
(18:14):
and even tracking field athletes, like it's the same thing.
You know. It is strategy and things that go on
in both sports. And so you know, that is what
I've you know, kind of like opened up the subject
matter too. But again, like I'm extremely excited, you know,
or the response has been very very powerful, and you know,
like right now I'm just figuring out what is the
(18:36):
best way for me to display or show like this
body of work because I believe that it can only
be seen together, you know. Yeah, yeah, and it can't
be I can't separate it. So well, well to do
that process, now.
Speaker 1 (18:48):
Yeah, you can't separate it because that's part of the
theme of the essence of what you created. You've said
it to sell it that when it's in this sight
for this is connectivity. And you were just talking about
these different areas. The cipher has resonated. I'm now thinking, wait, actually,
this cipher concept is even bigger. This cipher concept is
something that should come into corporate boardrooms. It's erect cat,
(19:10):
campaign development, it should come into team building, all these
different things.
Speaker 2 (19:14):
It should be these you notice, is what I do.
Bro On, I'll sell that what you do.
Speaker 1 (19:21):
But but this is why, you know, as as I'm
listening to your definition this, you're creating a culture of
connectivity that everybody should be entering into ciphers together in
all facets of life.
Speaker 2 (19:33):
Agreed. Agreed, Because man, it's like the people like and
I addressed this like I had a retrospective our show,
you know, like you know, a while back, like in October,
and one of the things that I addressed the whole
crowd because man, I had, my kindergarten teacher showed up,
(19:54):
you know, like a bunch of my mentors, my godfather,
my mom was there, you know, my wife fluent, like
my high school art teacher, my high school journalism teacher,
the chaster from my university. And they asked me. They
was like, you know, how could you do with what
you you know, what you did and how what kept
you going? I was like, man, like all of the
people in this room like they were they were not
(20:16):
They would not allow me to fail. So how was
never scared? Because everybody was always you know, pushing me forward,
you know. And so like that that connectivity, uh conversation,
you know, like I believe like you don't. You don't
get anywhere by yourself, you know, and so that that connectivity,
uh that you know, people extending things for you and
(20:39):
giving you a hand, and you planed it, forward it
and you passed that energy around. Like that's what the
cipher is all about.
Speaker 1 (20:45):
I love it.
Speaker 2 (20:46):
You know.
Speaker 1 (20:47):
As a black artist, I would think, who's on a
mission to kind of convey unique experiences through art? What
challenges have you encountered in navigating kind of this art world?
And and if these challenges kind of influenced the themes
and the messages of your work.
Speaker 2 (21:05):
You know what, I think, like the challenges that I
had faced in the art world, I think it probably
speaks more to the infrastructure, you know, and the political
side of actually doing business, you know, in the art world.
You know. And so it's like the art world is
a whole nother animal. But but I think the art
(21:25):
community and art collectors like they kind of like go
in and out of it. And so you know, like
I did, I did a show in uh twenty eighteen,
uh and it was called Favorite Things, and it was
probably like my biggest show, you know, it was kind
of it was a collection of a bunch of things
that I've done over the years and I just had
them all atle on space, you know. And as successful
(21:48):
as that show was, you know, like for the most
part financially and through you know, social media imprints, that
same week, like I got rejection letters from Diferend, Galfrees
and things like that. You know that I'd reached out
to it by carrying my work, you know, and so
you know, I could take that and I can look
(22:09):
at it in a in a in a way that
I feel defeated, you know, and I feel that the
world is against me, especially the art world. But the
way that I look at it is like, you know,
just like playing sports, like let me go figure out.
I'm gonna go around it. I'm gonna go over it,
and I'm gonna go through it. And so you know,
like with the thing with the with the adversity that
(22:29):
I faced, I've always pretty much pushed through, you know.
And I and uh you know, and uh not, you know,
tried my best to not define my success and my
journey by anything that I see reader here, and so
I've got around it, you know, with that, And and
I think another thing that kind of helps me that's
(22:50):
almost therapeutic. It's helping like young artists and things like
that navigate around like different situations.
Speaker 3 (22:56):
Also because you know, it is easy, you know, like now,
like with social media influencers and things like that, like
it is easy to feel that you're not on the
right path, you know, and everybody's path and everybody's.
Speaker 2 (23:08):
Journey is their journey. Yeah, and everything we see on
social media isn't real, you know, I don't know. And
so to me, you know, like how I mean, you
have kids and I know, there's been times where you've
been telling and instructing and correcting your kids us up
and he was like, damn, I need to do that myself,
you know. And so.
Speaker 1 (23:26):
We're sharing this insight. A lot of it is reaffirming
for ourselves, like remind ourselves of the work we have
to do.
Speaker 2 (23:34):
Yeah, And so you know, even when I'm talking to artists,
you know, and things like that, like I'll laugh because
I'm like, damn, I should probably take that advice myself.
Speaker 1 (23:44):
No, you know, it's crazy. Let me ask something. So
in your opinion, though, what steps then can the art
community take to kind of better support and promote the
work of black artists in particular, And how can these
efforts kind of contribute to a more equitable and inclusive
representation within.
Speaker 2 (23:59):
The art world. So I think one, it's definitely like
an education process that's been going on for the last
five or ten years with the African American community as
far as like fine art, you know, and the purchasing
of art, because you know, most artists they want to
sell their work, you know, and some artists need to
sell their work to survive. And so, you know, like
(24:21):
I've always felt that, like my competition is not necessarily
other artists, but it's like luxury items, you know. It's
like do I get this painting? I do? I buy
this watch? You know? Do I get this flag? I
do I buy this burking bag? You know? And so
I think, you know, like African Americans, like we're the
number one consumers in the world, you know, but we
(24:43):
should also be the number one consumers of our art
work as well, you know. And so I think the
ways that you know, like the African American community can
support is obviously whether you're purchasing an artist art work,
showing up at an artist show or not. Like, it's
(25:03):
other ways that you know, artists can be supported, like
you know, brand identity campaigns, you know, like like what
if you used you know, an artist artwork, uh, you know,
look on movie sets or in advertising campaigns and things
like that. And then and then also you know, just
really like understanding the financial gains that can be had
(25:28):
with purchasing fine art and it's generation to like, I mean,
it's like when you see, uh, you know, when you
hear about people buying like a Baska for x, you know,
x amount, X millions, or buy the Picasso for x millions,
Like that artwork wasn't X millions when they got it.
If it's real, it's right. You have to understand that. Okay, Well,
(25:48):
you know, supporting this artwork, I mean it's you know,
you're putting money back into the art artists and his community,
but also it could be an investment piece for your family.
So I think that that bit of knowledge, you know,
it's definitely something that I think is extremely important.
Speaker 1 (26:03):
Yeah, a little while ago, you were talking about, you know,
we can't do anything on our own, or that the
power of collaboration. I would I would frame that up
in right and working there yet, is there was there
a particular project that you could remember where you collaborated
with other black artists to collectively kind of express a
shared experience or experiences, and how that collaboration kind of
(26:27):
enhanced the depths and impact of that artistic narrative.
Speaker 2 (26:31):
You know what I would at the top of my tongue,
you know, I would say, like the dope the dope
artwork that I do. Okay, like when I when I
first did it, when I first started creating those pieces,
it was a philanthropic effort. You know, it was a
hip hop fundraiser with one of the guys and Chris Cross.
You know, I didn't have a lot of hip hop
(26:53):
art work at that time, but I was like, the
greatest hip hop word of all time is dope. So
I started doing these pieces, you know. But then I
was like, man, it's it's a great way to collaborate
with other artists, you know. And so I worked with
some amazing artists on these dope pieces as well as photographers,
you know, all Atlanta based. And so twenty nineteen I
(27:16):
did an event and it was called the Dope Show
atl where, you know, I worked with six of Atlanta's
you know, hottest photographers and you know, rented out the
top of a hotel and bucket and literally we just
photographed people sitting on my doat box the whole day.
Like it was. It was catered, you know, it was
(27:36):
sponsored about can Party spirits and I forgot the the
Vaka brand, but it was kid. It was catered by them,
sponsored by them, and it was a great time. I
mean it was literally like people coming in posing and
making art, you know. So it took those pieces and
then I made dope pieces out of those, and then
I worked with artists like Paper Frank and Hobo Inc.
(27:59):
And Melissa Mitchell, Jeremy Brown. I hope I'm not leaving
out to create other dope pieces, you know. And so
you know, artists, it always seems like it's a like
a like a solo like a solo show. But you know,
I wanted to show that artists could actually work together,
(28:20):
and and it did that. You know. It's like you know,
ego lest it's fun, it's you know, it's experimental, and
it's kind of like how we were when we were kids,
you know what I mean. It's like kind of taking
us back to that like just make something cool, you know.
And I've collaborated with a bunch of artists over the years,
and I really enjoyed that process, and to me, it
(28:41):
pushes me back into like my creative direction art direction mode.
Like when I was at the Face, you know, like
I got to work with incredible photographers and designers and
illustrators there, and I really enjoyed that that project. Like
I would be so excited to see like what these
other people would come up with. You know.
Speaker 1 (29:00):
Well, you know you're talking about different communities and different people,
and I would love to hear how you perceive the
role of art in fostering kind of this empathy or
this understanding across different communities, and how do you aim
to kind of bridge cultural gas and foster kind of
a sense of unity through your creative endeavors.
Speaker 2 (29:21):
Man, I think, I think the beauty of art, you know,
like whether it's like you know, visual art or music
is the ability that it has to broadcast and inspire
at scale, you know. And so like when you think
about a lot of simple things like the batman symbol
(29:41):
you know, and you know, and the cross you know,
and what those things mean immediately when you see them,
Like art has the power to do the exact same thing,
you know, And I think that you know, a lot
of times it gives people in underserved, underserved communities the
(30:03):
ability to create something like with their hands at a
at the at the the foundational or the grassroots level
that you know, if it catches fire, you know, it
could inspire all nations, you know, and uh, you know
it's so you know, I mean, for instance, like like
the the image that uh that uh I can't think
(30:26):
of his name, the guy that does obey you know
that did the image. Yes, yeah, I'm just like I
can't believe. I can't, you know, because I'm a fan
of his work, but I can't think of his name
right now. But like that image of Barack Obomba that
he created, I mean that that image was extreet shipherd
fair just think you pretty such he we was googling
(30:46):
it fifty five. I gotta write everything down, bro. But
uh but yeah, but like that image, like he did
an incredible job and it just meant so much when
you've seen it, like it looked like hope. Yeah. And
so to me, like that is what that is what
art can do, you know. And then I think also,
you know, when I talk to kids, you know, I
(31:08):
tell them that everything that they own, everything that they
look at, was created by an artist. And so to me, kids,
I haven't met a kid that didn't have an idea,
you know. And so to me, like, if you have
an idea that kind of came out of nowhere, I mean,
it comes from somewhere, but you kind of develop things
(31:28):
out of nowhere. Like I think that that is the
beginning of the definition of you becoming an artist. You know.
Now it might not be painting, and it's right not
be sculpture, but the ability to think and problem solve
and get to a solution. I think like the artists
within that, and so that is something that I also
(31:48):
think like within communities, especially like with young people, like
showing them that if they have a creative spirit, they
can impact and change the world, you know, And to me, like,
that's what the that's another one of the powers that
you know, art has, which you know what I said,
the ability to aspire to inspire and broadcast that at scale.
Speaker 1 (32:10):
And still no, so you get the power and you
get the magnitude. So with that, what kind of perceptions
or stereotypes or narratives do you aim to kind of
change or evolve through your gift and craft of art?
Speaker 2 (32:28):
You know what, like things that I have addressed through
my work, because like sometimes I'll do things that speak
to social issues, and like I mentioned, sometimes I do
things like that all black American flag is just cool.
But you know, like one of the things that I
did is did a show on like in twenty sixteen.
The name of the show was called My Boyfriend Is Black,
(32:51):
And the show was inspired by me and my wife
growing up in Saint Louis and we've been together since
nineteen eighty five. And so you know, we met high school,
and you know, uh, the odds were heavily against us,
like like Saint Louis was very segregated. You know, certain
areas were extremely racist, and uh so we would kind
(33:14):
of have to be careful like where we would go
at times, you know. And so you know, like everybody
has heard the uh or heard versions of like you know,
a like a regular you know, a regular interracial couple
with just like you know, just myself and my wife.
It is it's it's you know, it's an issue. But
(33:35):
if I was Michael Jordan or a celebrity, then it
wouldn't be an issue, you know. So the artwork really
spoke to America's views on interracial relationships past and present,
you know. But it just wasn't white and black, like
it was just anything that was probably taken. Uh you know,
if you looked at it, it wouldn't be your stereotypical
(33:56):
norm you know. And what was cool about that is
that I did the show, you know, and I advertise,
you know, you know, promote our social media and things
like that. But I had a bunch of people that
came from out of state that I have never met
because they have never seen anything that really spoke to
them and their dynamic and their relationship like that. So
(34:20):
that was very that was very inspiring and rewarding, you know.
And it was just a little bit of therapy for like,
you know, like me and my wife and everything that
we had gone through and experience and just to fight
to stay together, you know. You know, I think that.
And then I did a show in twenty nineteen and
it was called A Million Likes, and that was about
(34:42):
it was. It was sarcasm and satire, but it was
really speaking to people, you know, losing themselves and their soul,
you know, getting caught up in just like celebrity and
do things for the grand you know. And so like
when I look at where we are now, and especially
like with artificial intelligence and things like that, I'm like, man, like,
(35:03):
we're going We're going the wrong direction fast. And I remember,
like in a brand book, I think it was probably
like two thousand and like right around on Facebook and
my Space was really starting to bubble. I think that
might have been two thousand and three or you know,
something like that. But I wrote in this brand book
that I created, I was like, social media will eventually
(35:23):
decide the fate of everybody. Oh and I remember and
I had a pitch meeting with like I think it
was folks at Coke and one of the execus like, yeah,
you should probably take that out because you know, like
we're really into you know, like social media and things
like that. And when I'm look at where we are now,
I'm like, jeesus, you know.
Speaker 1 (35:42):
Yep, no, you're wrong with something.
Speaker 2 (35:44):
Enter.
Speaker 1 (35:44):
You know, it's crazy when you talk about the impact
of social media and the fact that it's a contrived
face of content, right, it's a very manipulated one by
those at Instagram, at these platforms, right, they're dictating what
you can see when you can see. And I'll tell you, man,
my guy gathering over at Supervision, great brand, great dude,
(36:05):
great creative, great artists, great visionary. I mean he had
a campaign recently at the end of last year and
he set something vision over algorithm. Yo, maintain your vision
and don't let it be dictated by the algorithm, because
so often we get caught up in oh my gosh,
nobody liked my nobody liked this picture, nobody liked us comment,
(36:28):
nobody liked this service, you know, on my social so
means it's not it's not right, it's not good, it's
not worthy. No dog, keep moving on your vision and
don't let the algorithm dictate the impact that you think
and know this should have because all these social platforms
are contried platforms that are being manipulated by others behind
(36:51):
the scenes to dictate who they want to put on
the platforms and win correct.
Speaker 2 (36:57):
And you know, like when you when you see now
news feeds and things like that on what TikTok shows,
you know, people in America versus in China, you know,
and you like, and even when you share that information
with people in America, like they nobody acts accordingly, like
let me clean it up, like they're still doing it
(37:17):
for the likes. And it's like that is mind blowing
to me. Yeah, ye mind going to me. So it's
like I don't know, you know, Like I mean I
jokingly say this, you know, but but I'm seriously when
I say, it's like the only way that we could
you know, of course correct? I think like where we
are right now is an alien invasion? How about that?
(37:40):
Like that super Dan Joe wa Like yeah, like it
has to be something that massive because if not, it's
it's like it's like the wild wild West. Man is
like stuff is all over the place, things that you
see and you don't read. It's like they making fake meat.
You know what I mean? Ye is the world is.
(38:00):
We have some real interesting times right now. Aster, Hey,
what are the ages? What are the ages of your kids?
Speaker 1 (38:06):
So my oldest is eighteen, my middle is sixteen, and
my youngest is eleven?
Speaker 2 (38:10):
All girls, So the eleven and sixteen, like I know that,
you know, like you could have better you know, you
can have more serious conversations with your oldest, but eleven
is sixteen. Like they probably really look at like social devices.
I mean, you know, like, oh.
Speaker 1 (38:24):
No, they're on their phone. I mean it's it's a
ridiculous the amount of time and energy and consumption that
just that phone and all those platforms have in their
lives and what they're trying to gravitate to. And that's
why I try to have as many real conversations with
them as possible to ensure that they are grounded and
(38:44):
they're not be led and dictated by the algorithm.
Speaker 2 (38:47):
Correct, I think, I mean boys are effected. I think
it affects girls uh more, but everybody is affected. So
I think, yeah, you really have to have like great
dad conversations. Oh Likesdent you got to be president.
Speaker 1 (39:02):
You got to be president. So you know, we we
we've talked about your you know, artistic gifts and how
you kind of express them, but but how do you
ensure that you're using them as a form of being
a changeing it? And like for collective betterment. I always
like to say worldly collective betterment.
Speaker 2 (39:21):
Like honestly, like I uh like the effort that I
put in with the youth, you know, I think it's
it's the youth because sometimes you know, like people that
are our age or maybe even a little bit younger,
like you can't You're not going to get them to
change your mind, you know, but you can. You can
inspire kids to do incredible and wonderful things, you know,
(39:44):
And so uh, you know, like I like for years,
you know, like I coach sports, you know, like I
coached you know, like my son all the way now
you know he's playing sports in college, but you know,
like I coached track and field, yeah, football, like I
helped lacrosse and just mess speaking to them kids and
getting them to believe in themselves and letting them understand
(40:05):
that anything is possible, while you know, teaching them to
be accountable, you know, and and letting them understand that
nobody in the world really cares about your excuses, you know,
and say uh. And so I thought that, like I
really took a lot of pride in that, uh. And
I know that, like I impacted a lot of young
(40:26):
people's lives through that. And now, you know, like I
do a lot of creative work, you know, with the
Boys and Girls Clubs of Southeastern Michigan. And what I
love about that is I'm able to create things that
make the kids eyes light up when they walk through space,
you know, because you know, like how if you if
(40:47):
you ever did after school programs and things like that,
Like you know how it was when you kind of
walk in there and it's like everything is drab and
sometimes the counselors don't even want to talk to you,
and you how that feels. I was always like, man, like,
if the kid walked in and felt like he was
in a superhero movie, would that changed the way that
he thought about himself with that give him a whole
(41:08):
different energy? Because I know the power that images have
to create and inspire people, you know, I did like
like a year's I would call it a year residency
with them, like working on their brand and helping them
kind of create like new tools and imagery and assets
and a little bit of creative strategy. And what I
loved about it is it combined like all of my
(41:30):
passions from kids, you know, youth, sports, entertainment and art,
you know, and so like, you know, I make sure
that you know, within that like they you know, within
the aesthetic, like they get its little nuggets that are
buried into the design of things like that that make
them try to figure things out and learn things, you know,
(41:51):
because I think, you know, the best learning comes from discovery,
you know. Yeah, and act so yeah, yeah, and so
I think I think it's that you know, and I
think all so just the conversation of an artist. You know,
you can do anything, you know, but you get pay anything,
you know, And so to me, like that is that
that is kind of like my social charge on how
(42:12):
I feel like I could really you know, like making
make a difference because I know that I have a
gift to connect with kids. Uh, if you had asked
my wife, she would say that I'm still a kid too. Yeah,
but uh and it's like and honestly, you know, like
I enjoyed being around like young people and having conversation
with kids and hearing what they think about things. You know. Uh,
(42:35):
you know, so I think that to me, like that
whole energy and experience and those times are super dope. Yeah.
Speaker 1 (42:41):
I think it's also to that degree deal. I think
it's part of our responsibility as as you know, children
of God who've all been given these gifts, and these
gifts are meant to be shared with many others and
some unfortunately don't get shared at all.
Speaker 2 (42:55):
Correct.
Speaker 1 (42:56):
But for you, somebody who's obviously tapped into the gift
that God is in you. I meant part of the
role and the responsibility is to engage with those younger
than you who have not been through as many things
or any of the things that you've been through to
date that you can now inform them of so that
their trajectory can be supercharged. Yes, from that of what
(43:19):
you went through. There's no way, there's no way any
youth who has access to you, or has around you
or knows you, there's no way that they should come
and encounter the same hurdles, challenges, obstacles that you did
without you providing them the nuggets of here's how I
maneuvered through it. Here's what you probably could do it
(43:42):
when you encounter it, so you can do it a
lot smoother quick like that's part of your responsibility.
Speaker 2 (43:47):
Gru'mu no, I agree with one hundred percent, because like
we're all like one left turn away from our lives,
a manly different situation where it is they know one
like I remember, you know, like I grew up you
know for the most part, like single parent home, you know,
between my mom, my aunt and my grandmother, you know.
(44:07):
And man like my godfather, like the energy and time
that he put into me, you know, like everything that
I learned about being a being a man, especially like
in the construct of my family, I learned from him,
like he had read artists, you know. And then it
was a bunch of guys in the neighborhood and he's like,
you know, you run a track, you ain't missing practice,
(44:28):
you know, like that tough love things. I mean, man
like this dude, like he did like literally like he
was my he was my uh he was he was
definitely like my father figure man and uh and so
but he didn't have to do it. You know what
I mean. You had a wife and he had kids,
and he had his own things. But man like he
like he invested in myself, like he invested in so
(44:50):
many young men, you know. So shout out to mister
King if you watch this. But uh, it's and so
like I feel, I feel the exact same way, like
I feel like it's my respect OT's ability to uh
like I've knowed, I know how far a conversation can go. Yes, yeah,
I know. I know the death is that it makes
(45:10):
man just the conversation or the time of day, Like
I know how like little things like that that don't
cost us anything could change the world for.
Speaker 1 (45:19):
Somebody, change the world for somebody and somebody's around them.
Yeah right, because you're helping to unlock that potential gift.
And it's such a great segue into you know, we
always end the sessions with talking about you know, what
are the three seeds you want to leave with the
stewarts of culture moving forward? You know, very much like
farmers right with a seeds plan. So I'd love to
(45:41):
hear from you one of those three things because it's
a great follow up from the sentiment that you just
had or what was done for you and the impact
of a conversation. So one are those three things that
you would want to leave.
Speaker 2 (45:54):
So I would say one, like anything is possible, you know,
anything as possible, like just you know, create is you know,
set your goal sheet, write your goal sheet down, and
just go forward, you know, and do it. And that
leads into like my favorite quote, you know nobody I
(46:15):
think it's a Muhammad I Lead quote. Like I've never
let anybody talk me into not believing in myself, you know.
And so like I would say that, like anything is
possible and write that Muhammad I Lead quote down. My
second thing, man, and this was kind of like somewhat
relayed to me by a gentleman that came to see
me in art instructure school and this, like I like,
(46:38):
this was probably nineteen eighty six, and this stayed with
me forever. He told me, like, if you're an artist,
you gotta let the world know, you know, and so
like whatever it is that you do, don't be afraid
to share your gifts with the world, you know. And
sometimes sharing your gifts can be local, sometimes they can
(46:59):
be global, But don't be afraid to share your gifts
with the world, you know, And I would say probably
the last one. And this relates to every single thing,
like if you give it, if you always give things,
like every single thing you got, God's gonna make it
work out for you. Mm hmm. Man.
Speaker 1 (47:19):
Those are three amazing ones, and I think you know
too many. You're a testament to those things. And I
thank you for being the individual that you are. I've
always had a gravitation towards your spirit, to your energy,
to the things you represent. Will continue to be that,
(47:42):
and just ask that you continue to do the things
that you're doing in the way that you're doing it,
because Bro, it's needed and it's making a difference.
Speaker 2 (47:51):
Man, Thank you very much. And you know my sentiments
are just you know, the exact same ast man. Like
we met, I think we met like right before the Olympics,
you know, like nineteen probably like nineteen ninety six. You
were the second person that I ever met from Nike.
I remember you told you this store actually the yeah,
the second ecing that's right, yeah, yeah, So like I mean,
(48:14):
I'll never forget it. You've been the same ever since then,
Like you've never changed, no matter what business cards you've had,
you know, things like that, like you've always been the
same guy. And I think you know, like you taking
your time to create platforms like this that you know
from what I gather extremely uh you know, position to
aspire other people through the storytelling and experience. I think
(48:36):
it's great, man, So I appreciate what you're doing.
Speaker 1 (48:38):
We truly appreciate your support because it helps us fulfill
our mission of promoting cultural awareness and personal development. Please
click the subscribe button below to help ensure and solidify
our mission.
Host
Astor Chamber
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Special Summer Offer: Exclusively on Apple Podcasts, try our Dateline Premium subscription completely free for one month! With Dateline Premium, you get every episode ad-free plus exclusive bonus content.
On Purpose with Jay Shetty
Iâm Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and Iâm so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood youâre able to deal with relationship struggles, work challenges and lifeâs ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them weâve never seen before. New episodes every Monday and Friday. Your support means the world to me and I donât take it for granted â click the follow button and leave a review to help us spread the love with On Purpose. I canât wait for you to listen to your first or 500th episode!