MikeyPod 349 | Composer-Performer Sugar Vendil

Composer-Performer Sugar Vendil joins me this week to talk about one of her latest projects, hyPerFormFest, a one day (for now) eclectic, boundary-free music gathering featuring Jerome Gillespie, Chloe Alexandra Thompson, and Jasmine Hearn. We listen to some of her magnificent music, chat about our changing relationships with social media as artists, and so much …

Episode Transcript

(00:00):
Hello, and welcome to Mikey PODD podcast.
Episode 349 for September 15th, 2022.
Today's guest is composer,performer, sugar veil.
She'll be telling us all about highperform Fest a one day for now,
eclectic boundary, free music gatheringthat's happening in New York city.
We'll also listen to some of her musicand we have a great chat about social
media. I've been wanting to talk tosugar on the podcast for a long time.

(00:23):
And those of you who've been listeningfor a long time might recall that she was
on one of the Mikey PODDlive episodes, way back.
I'll put a link to that one in the shownotes. I am your host, Michael Herron.
I'm a composer pianist,electronic musician storyteller based in New York city.
On this podcast. I haveconversations with fellow creators,
use their creativity to change the world.

(00:45):
I've been sending this podcast yearsfor 17 years. If you like what you hear,
subscribe using the colorful buttons inthe sidebar and [e-mail] or
you can just search Mikey PODD inyour favorite podcast directory.
If you'd like to know more about me,stop by my [e-mail].
Hit me up on social media everywhereas at Michael Herron or email me Mikey

(01:05):
PODD, gmail.com. I'm trying so hardnot to cough right now. Um, hello,
welcome to the show. Um, yeah,this is the check-in zone.
This is where I talk aboutwhat's going on in my world.
Y'all it's been a weekoff of Facebook. I, uh,
dis disabled. Isn't the word I, uh,
I put my account on hiatus and now todayI'm gonna do it with every other social

(01:28):
media. Oh,
I should change that in the intro whereI say you can find me on social media
everywhere. I'll turnit back on eventually,
but just being off Facebook for a week,
it felt like it was gonnabe a big deal and it wasn't.
And I love it. So I've beendoing a lot of other work.
I've been working behind thescenes on a lot of stuff.
There's been scraps on my, uh, web server,

(01:49):
a lot of work I need to do on my websites.
I finally finally connected all of theold episodes of Mikey PODD during one of
my updates, something screwed upand all of them became unattached.
So I had to go back and manuallyattach each one, but it's finally done.
And it was really cool. I went backthrough all of these 17 years of, uh,

(02:10):
entries kind of remembering the guests.
There was a period of time when I justdid music. It was just a music podcast.
There was a period oftime when I first started,
when it was sort of halfjournal, half interviews.
When I still lived inTexas, there was a lot.
So it was cool looking back there andalso seeing some people that have been
listening ever since then,

(02:30):
when people used to leavecomments on actual blog posts, um,
those were the days does anyoneremember like I do. Uh, so anyway,
I feel like I'm really kind of gettingthings in place for what feels like
a kind of creative thing happening.
I'm working on learning some newsynthesis techniques and, uh, yeah,

(02:50):
so it's kind of cool.
I'm feeling really energized and likethings are moving for a change and I owe
it all to turning off Facebook. I mean,not there's some other factors as well,
but it's making a huge difference. Sowe should get into the interview. Um,
I do wanna first thank my subscriberson Patreon for powering this podcast.
These are people who subscribe for $5or more a month and get special perks,

(03:13):
like tons of free downloads ofmy music and zines bonus pods.
We're getting close to 80 podcasts thatare just bonuses that are only available
on Patreon. Um, and you'll haveimmediate access to all that stuff.
If you subscribe too, includingthis week's bonus episode,
which is gonna be something really cool.
I discovered while I wassorting through all this,
these random files that were up onMichael heron.com and mypad.com.

(03:35):
I found the old back in 2005,
I was asked by the national coalitionto abolish the death penalty to podcast,
start a podcast for them.And it didn't go anywhere.
I can't remember what happened. Um,
but I thought those podcasts were lostfor good, but the first two episodes.
And I think they were the onlytwo episodes, um, were up there.
I found them like,

(03:56):
as I was rooting around in all thesefolders that needed to come down. Um,
so I'm gonna release one of thoseas a bonus podcast this week.
I'm really excited to share that.I wish I had some of the, the, um,
the graphics and whatnot that Idid with that show. And honestly,
I don't even rememberif I had any graphics.
There must have been like album art,but anyway, it's not there anymore.

(04:16):
Or is it maybe I can find it well for now.
Just know that that bonus I'mgoing on about this too much.
There will be a bonus podcast thisweek. That's the summary of that. Um,
and so before we get into theinterview with sugar Vanil,
I would like to play some musicfor sugar Vanil. And this is like,
this piece of music is like bonus enough.

(04:39):
Like this is a really cool pieceof music it's entitled. Um,
may we know our own strengthand, uh, this is sugar van di.

(07:37):
No, no.

(08:40):
Ha.

(09:51):
That was sugar Vanil with may.
We know our own strength andsugar is here joining me now.
Thanks so much for joiningme on the podcast. Thanks.
For having me.
But I've wanting to talk to you fora while and I just never did it.
I never reached out because somuch of your social media take
has been really inspiring me tothink more deeply about things.

(10:13):
But first I want to talkabout, um, high perform Fest.
This is something new that you'vestarted that, uh, is really exciting.
Actually. It's funny,
social media sort of like I hadtweeted like I'm back in like 2018
I sort of like, you know,
I was really frustratedjust with the gatekeepers,
like in my field in particularand contemporary music, new music,

(10:36):
just how like white it is,you know, mm-hmm and not, I mean, like,
I know there's diversityin terms of the artists,
but like in terms of who's makingthe decisions, not so much.
So I tweeted them, like, I wanna startsomething that's by us and for us.
And of course, like, you know, typical,you get all the hearts or whatever.
And then that idea like set for a while,
because I couldn't think of anything andI was busy and, and then I don't know.

(11:00):
I just was like, um, you know,
I should get a group of people togetherto think about this, not just, um,
you know, I wanna be more collaborative.So I got a group of composers together,
like on zoom because wecouldn't meet up in person. Um,
and just like started brainstormingwhat we would dream of

(11:21):
together. Like what would,what we wanna see. So we start,
we talked about so many things.Oh, and those artists are, um,
I'm gonna name them inan alphabetical order.
we Waller, who's spearheadingthis first, uh, this first,
I guess, um, event withme, Tran Aaron cent.
And he Negron JanelleLawrence and Walter Aparicio.

(11:45):
And I hope I haven't left anyoneout. I think that was everyone. Um,
so we just dreamed,
dreamed things up and we talked aboutgenre and how like genre is such a,
um, you know, it's just a way tolike silo everyone. And it is,
I don't wanna just be like, andit's racist , but how,
there are so many racialimplications, you know, when you,

(12:06):
when you separate genre. So we're tryingto, you know, make a genre list and,
um, and then yeah, like it took, you know,
a long time again for you for thisto even get off the ground. You know,
so for this first one, uh, we havethree really awesome artists, um,
jazz drummer, Jerome Gilles, his band, um,

(12:26):
someone from the electronic music world.Um, and she's also sound designer,
Chloe Alexander Thompson and Jasmine Hern.
Who's an amazing dancer and alsomakes really dope music .
So that's really like a uniquemix of people and it's on
September 25th at St. Mark's.
So much of that. I love, likeI was reading the description.

(12:49):
I love the way the idea is, whatdid I write about this? The, oh,
it's your quote? Well,
from the website that you're eraseerasing boundaries of genre and unify any
sound based art form, um,shaped by a high level of craft,
dedication and virtuosity,
but then it goes on to kind ofdescribe the idea that those
words themselves arefluid. Right? Like, so it,

(13:14):
I,
I love the way that it's preventingnew boundaries from being put up
from the description of what the thing is.
Am I I feel like Isaid that in a weird way. Yeah.
But does it make sensewhat I'm getting at?
Yeah, definitely. It's like, it's more,
I guess it's abouthumility ultimately for me,
like to acknowledge that that'sjust so subjective and I mean,

(13:37):
like we could have just written likehashtag stay on the, I guess, but ,
you know, it's, it'sreally about that. Like,
and the idea is that we're not alwaysthe same people curating mm-hmm
um, andthat's another, like,
that's another idea pie in the sky thingis to decentralize that gatekeeper role
and by to do that,

(13:57):
you have to have otherpeople making decisions,
you know, and it'sgonna be such a, I mean,
it's a really small thing because wedon't have, you know, a ton of funding.
Like for example, we had to start offwith one concert. We, we don't have,
we can't plan an entireseries yet, but yeah,
we're just trying to like putthese seeds out there, you know,
so for the next one,hopefully it's not us,

(14:18):
it's someone else bringingother people in, into the fold.
It's really telling that itfeels so unusual, right. To,
to start an organization thatyou're intending to not be
completely power of.
Which is so weird because I was, itwas a complete opposite before that,
you know, with my, the ensemble I'mending, it was a complete opposite.

(14:41):
It was so different. I was likereally doing everything to,
I guess the trust is hard. Imean, I'm not gonna get into it,
but we are all basically projectingour traumas onto everything,
whether or not we're aware it, you know?And so I think that was a huge factor.
And so, you know, over the years,
I've just learned more and more aboutcollaboration and what that means,
you know, which I guess it means differentthings to different people. Right.

(15:05):
Um, um, so yeah, it's, it'sa really interesting thing,
you know, and the ideais to just also, for me,
I think is to remain vigilantof your own biases, you know,
mm-hmm andagain, I think that's,
what's going to make a difference, like,
in terms of bringing other people into make these choices of who's gonna be
part of this, I mean, open,open, like musical theater,

(15:28):
even like we had talked about this,like, you know, are we going to like,
be like, no, no, we won't .
Yeah.
You know, country? No, we won't say no.
Like if it's something that like willlisten with, like, it says open ears,
like really listen mm-hmm. I mean,
I was listening to countrylike on accident last month as I'd Googled a phrase,
and then there was a song, like, it was,I was like Glu Googling, slow burden.

(15:52):
Cause this is how I've always described,like the way I've my career is.
And then like, you know, is it Casey?Musker I don't even know exactly I've.
Heard. Yeah. I think that's.
And I'm like, oh, thisisn't bad. You know.
It's interesting that you're intentionallydropping the barriers in this
performance space. Andalso just within yourself,
it sounds like to like put down your ownpreconceived notions about discovering

(16:15):
this country music. Yeah. And,um, and making a space for it.
Yeah. I think it's also just a wayto live. Like music might be like a,
you know, a little likemicrocosm of this idea, you know,
but we do it all the time with,
even with people like you seesomeone and you think, you know,
and that's cuz it's, this ishow I've experienced my life.

(16:35):
People look at me and like take, you know,
they take one look and make all sortsof assumptions, you know? Or they, like,
in my case, like they've seen, they'velike taken one interest of mine,
which is fashion mm-hmm and then like made all sorts of
assumptions and imposed, like whateverthe health bullshit they want on me.
They don't know anythingabout me. Like, yeah.
Like you wouldn't guess that like,

(16:57):
like I get in the streetfights when people mess with me and I usually win them,
like not necessarily fist fights, butI like scare people, you know? Like,
like no one, like I, I guess Ijust like, yeah. I just like,
I just project my own shit on allmy shit. well, empathy.
I want empathy. So how do I bringempathy into this space? You know? Yeah.
Open someone, openness. Howdo I bring that here? I dunno.

(17:20):
Yeah. I wonder like whenyou were talking about, um,
sometimes I ask these questions and Iworry that it's getting that I'm getting
too therapy ish. So feel free. It's.
It's all the rage right now.
Yeah.
And yet how, why are we still here?
Well, that's the thing, like, I'm goingoff on another side thing, but you know,

(17:41):
right now, especially in the world,
like there are a lot of thingsthat are terrible, right?
Like a lot of things that areterrible. Um, and a lot of,
of 'em have been terrible for a longtime and some of us just haven't paid
attention mm-hmm. But you know,
when I think about the type of workthat you're doing and, and, uh,
with high perform inparticular that you're, it,

(18:02):
it feels like, um,
a workshop for like what theworld could be, you know? Like it,
it makes me feel like, oh yeah,
like in the midst of this kind ofshit storm of the world,
there are people who arelike, wait, what is it? How,
what would it look liketo do this differently?
Yeah. Yeah. And exactly.And ideally, I mean, I,

(18:26):
if like, if we could,like, if we had funding,
I would've wanted to make it completelyfree, you know? Yeah. It's just, yeah,
we couldn't, but, um, yeah, exactly. Ithink that's such a, that's beautiful.
Like that's, that makes so muchsense me and it, it really is.
I think what we're trying to do.
But with that in mind and the ideaof like the way we bring our trauma,

(18:47):
this is the therapy part. we bring our, like,
we all just have a tendency tobring our trauma and our, you know,
our past and all of these things into ourpresent and into our relationships and
our working environments.
Is there a way that you and the peoplethat are you're working with here
make a space for that as you'realso trying to not include it

(19:10):
does that.
Make sense? This has honestly been oneof the best collaborations ever. Um,
Alicia's just amazing. Um,and I think, I don't know,
maybe I've become just abetter collaborator after screwing up so many times,
you know? I mean,
I'm surprised some of these people arestill friends with me oh, I mean,
but I mean, I will say like, um,

(19:31):
I do think I'm a very self-awareperson and like, I'm also,
I will admit when I'm wrong.Mm-hmm , you know,
at least there's that, I think thatwas my same grace, but I think like,
I think just being sotransparent, you know, I, I told,
I talked to Alicia about actually whatmy traumas were with working with people
mm-hmm , you know, and shejust knowing that I think, you know,

(19:54):
probably helped. Um, and she kept, youknow, she said more than once, you know,
I want you to know thisisn't all on you. Like,
you're not the only one who has to doeverything. And that, that helped so much.
So then I was able to also let go, youknow, of things, like instead of being,
oh, don't worry about it.I'll do it. I'll do it. And.
Oh yeah.
Yeah. So, um, because I had beenso let down in the past too, like,

(20:17):
like having to do most of thework, you know, and, and, you know,
it's like, yeah, granted, like,um, there was not a lot of money.
Sometimes you're, it's a passionproject. And like, you know, people,
like there were pain inthe ass admin things,
and none of us were gettinglike a salary or something.
So that also made it hard. But like, um,
but I think just being reallytransparent, like if I had,

(20:39):
if I was worried about something,I'd sometimes say like,
this has nothing to do withyou. I just want, you know,
I'm like totally projectingall my shit. .
Yeah.
You know, know, I think thatreally helps. And also like, I,
sometimes you just crashand burn, like I did,
like with all these othercollaborations. Right? Like,
and then you learn from them,hopefully if you're lucky,
I think so many people don't really,I'm gonna be completely Frank.

(21:01):
been a little arrogant, but forreal, like, um, but you you're like,
okay, next time I gottato do this, you know,
or next time this needs to be different.
Yeah. Yeah. It's yeah. I think like,
I feel I'm on a differentextreme of that where I just
don't collaborate cuz I'm too, like, Idon't know how to do that, but I can see,

(21:22):
um, you know, where it's,
what I'm missing out on somethingby avoiding those kind of creative
relationships.
Oh yeah. You think so?I'm like, I don't know.
I'm like sometimes I really justwanna be all alone to know .
I think it's true, but I think there'salso, you know, like places where,
you know, when I haveworked with other people,
like with the director or something likethat, when it's like, oh, this what,

(21:47):
it's good to have other people involvedin your work to have a different
perspective and, and differentideas and helping, you know,
make connections thatwe notice on our own.
Yeah. I guess it helps to be reallyclear about who's doing what, you know,
mm-hmm and like,um, collaboration, honestly,
it doesn't people bank, it meanszero hierarchy, like zero, zero.

(22:11):
Um, I would say with meanly, it'sprobably like that, but we're,
I think it's cuz we're both. So like, Idon't wanna say type a, but like cool.
Got it. Get it done like that. Butlike, you know, sometimes let's say,
you know, if you can see a project, forexample, mm-hmm, like,
it's okay to say like,yeah, I really am like,
like leading this and it doesn'tand it means you're like,

(22:32):
it means you're like leading this,you know, it doesn't mean you are,
you're like gonna be complete bulldozer.It just means you're steering. Like,
so you're just steeringthe thing, you know?
It doesn't mean like you'restepping on people. Yeah.
So that's another thing getcomfortable with, I think is, um,
being okay with that.Yeah. You know, mm-hmm.

(22:52):
so much learning in ourworlds because learning in like
yeah.
So and so much nuance and uh, it's,
it's a lot like things andI'm even encountering things.
I never thought I'd encounter,
which I'm not gonna get into detailabout cuz it's so gr but tiny things.
And you're just like, huh. Interesting.
I wanna talk a little bit about socialmedia because unbeknownst to you you've

(23:14):
really like you made a post, it wasmonths ago about stopping social media.
Um, which has shifted for you. Inoticed, I think just yesterday. Yeah.
I was gonna say, you're gonna kill me,but I guess you already knew. Yeah.
But I knew,
but I think that's part of what isreally interesting about the whole thing.
Um, so in a nutshell, and of course youcan describe this better than I can.

(23:37):
Um, you, you chose to stepaway from social media,
which a lot of, especially for anartist, uh, independent artist,
it's often like something weperceive as our lifeline to
having an audience mm-hmm um, and it may or may not be,

(23:57):
and it, but it's definitelydifferent from how we perceive it.
But, um, it was, it was reallyinteresting to me because, uh,
part of what's gone on with me withsocial media is that it's become my,
um, avoidance technique forbeing an artist. You know,
instead of it's either, you know,
I spend a lot of time scrollingand having questionable

(24:20):
conversations with people who reallyare just into it to argue, you know,
like I really get into a lot of likenonsense energy that could be spent,
you know, doing other things. Um,and also like the fear of, you know,
like with the podcast, as an example,
I go in periods where I don'trelease the podcast as much.
And part of it is because it doesn'tfeel like I'm just releasing a podcast is

(24:43):
like releasing the podcast and oh,
I better put something like maybe somemake some video that will promote it on
my Instagram reel.
Like it becomes this gigantic projectthat isn't even more about the thing. Um,
you talked about a lot of that somuch more eloquently than I just did,
but where are you with all of that?
Um, I think that thebreak was definitely good.
Mm-hmm becausefor, for example, um, with the,

(25:07):
I did post yesterday and part of thatis because it, you know, you know,
just full disclosure, like the, theseries, the concert series is so new,
right. It doesn't have a mailing listyet. Right. It has no followers basically.
Cause it's so new. So I'm like, wellI really need to help, you know,
help with this. The thing is like, Iwas able to just do the thing because,

(25:29):
and not look,
not check on how things were doing mm-hmm and before I would just
keep refreshing, youknow, like the hard part,
like to see how it got,
how it did and I'm not gonna look untillike next Wednesday because that's,
that's my thing. It's like, I'm onlygonna go once a week and not even like,
and once means once, like, itdoesn't mean like you get to go,

(25:49):
I get to go on for the wholeday. It's like just once. And,
but it doesn't feel bad and I'm nottempted because I took all this time off.
Um, and honestly like, I mean,I, I know I put it in a caption,
but I'll say it here too. Like itreally, I mean, it's, I'll say it sucks.
Like it's, it's like linked,
it is LinkedIn for artists mm-hmm and I do think back to,

(26:09):
and I'd written about it too, butthere are times when it's like,
I got work that way and you know,
it's like other artists aren't curatinglike the way I am with this series.
And then, you know, you know,
you just it's basically like castinglike wishes into wishing. Well,
I really see it that way. um, but also it's, it's a place.

(26:30):
I, I was also thinking, youknow, I did say keep up my blog,
but I don't have time for thatshit. Like I don't have time, um,
to like make a post on myblog and like little snippets,
um, of video it's like, where doyou put that? You know, I'm like,
there are some cool stuff I've donethat isn't like fully produced. Um,
you know, like archival footage.I'm like, where do I put that?

(26:53):
It's there where it gives people an idea,you know? So it's like, it's really,
it really is a work thing. But, um,
I think I've been able to separateit from like validation thing.
And the other thing is Idid notice it, you know,
sometimes some friends wouldn'ttext me as often as they used to.
While you were on your.
Social media. Like some of my closestfriends. Yeah. Yeah. And like,

(27:15):
I'm just like, this is howpeople stay in touch and then it,
and I don't have to constantlybe posting, but it's like, yeah.
Soon as I posted three people texted.
Me when they saw that your post.
. Yeah. It's just funny. It'slike people are, I'm like, yep. I,
I called it, you know, there'ssomething easy about it.
I guess people are too shy to email.If they're interested in reaching out,

(27:36):
like they're more comfortable here.Yeah. For better or for worse. I mean,
it's not really that good of a thing.I don't think it's not terrible thing,
but it's, it's somewhere in themiddle, I guess. So it does,
it is an open line of communicationfor people. Like they,
there people are, are so shy. I think.
Thinking about this stuff, it's just, so.

(27:57):
Am I an overthinker? Yeah.
No, well, I do the same thing,but , you're like my,
my overthinking just feels more likefoggy when I'm talking to you. I'm like,
oh, okay. Like I'm finding somedirection for the things, you know,
it it's such a mixed blessing.
It feels weird to say just the existenceof social media and the way that it's

(28:20):
made us so connected.And you know, as artists,
it's so much easier to like getour work in front of someone.
Um,
but there's such a interesting cost andnow we're in this place where it feels
like we have to do it.
I know. And it, it does feel like I haveto do it cuz it's like, I'm not gonna,
you know, I'll be totally honest. It'slike, yeah, I wrote that, you know,

(28:44):
like I don't think I have theprivilege to leave, but it's like,
what does privilege mean? Like fame? Sure.Yeah, because it's not fame. I don't,
it's not fame that I want. It'slike, I want an, I want people,
I want an audience, you know,mm-hmm and um,
it's just the mailinglist thing is very slow.
It's a slow going thing.And um, it's like,

(29:07):
I mean,
I guess social is just like a littlereminder and I know people would be like,
yeah, do like you have to have be visibleand this, this and this. It's like,
yeah, no shit. Except thatyou're constantly looking at it.
If you're constantly looking atit, like that's the trade off.
So I've trained myself to not constantlylook at it. That's a difference.
You know, it's like, Ifeel like it's a, it's a,

(29:27):
there is a potential there thatlike I have to tap into without,
but I found a way to do it. So it's nottaking over my entire life. Like it was.
It's interesting to see your process withit because you have a process with it.
And I've kind, kind of like, I,
I'm trying to figure out where my spaceis with all of these things too. Um,
so, uh, yeah. I don't knowwhere that's gonna wind up.

(29:49):
Do you have some otherperformances coming up?
What else can people goand see you doing well?
I'm dancing, um, insomeone else's piece, um,
for this amazing choreographer thatI dance for named Emily Johnson
and the company is called, uh,Emily Johnson catalyst. And, um,
it's really awesome. And it's goingto premier at the broad in LA,

(30:14):
but it'll premiere in NewYork at Nyla in October.
And what is Nyla? I don'tthink I know what that is.
Oh, uh, New York livearts it's in Chelsea.
Mm-hmm oh.
Cool. Like T Jones space.
Um-huh so that'sreally amazing. It really it's about,
you know, breaking downthe structures and um,

(30:34):
institutional structures and uh it's yeah.
Nice thing in it too. so dance in it. Really great.
I love it.
Um, that, but it's not yourmusic. It's a different composer.
Yeah. It's Raven shaone actually.Okay. He composed the music.
Um, he's amazing.

(30:55):
He just won the Pulitzer andthen also won a Grammy this year.
Wow.
Yeah. Yeah. His music is so cool.
You're in the process of creating analbum mm-hmm that I know is
in heavily in, uh, a work in progress,
right?
Yeah. I've been trying to, I thoughtI was gonna get it done in 2020.

(31:18):
I'm like ha ha. That's funny. Oh.
Yeah.
It's for, um, voice pianoand electronics and um,
I think I'm gonna call it tunnel vision.
It was gonna be called late bloomer atfirst, cuz that's me. Uhhuh,
but now it's called, I think it'scalled tunnel vision and I'm hoping,
I'm hoping that'll get releasedin like March or April.

(31:40):
Um oh, cool. That's not too far off.
I know. So I gotta like geta move on it. Huh? .
Yeah, yeah. Uh, well, it's beenreally good to talk to you.
Me too.
Before we wrap it up, I wanna makesure like what where's like central
your website sugar. Oh.

(32:00):
Yeah, yeah. And mynewsletter. Um, I, um, yeah,
I send one to two a month.
I might send one also likethe day before a concert,
but I try not to do too much.
Yeah. You know? Um, yeah,
I'll put I'll at least I'll put definitelya link to your website and it's easy.
It's right there on the front.
Isn't it to sign up for the newslettermm-hmm yeah, yeah.

(32:22):
Yeah. I should also redo my website,but that's a whole other thing.
Uh, you know,
I've been working on my website and alot of times I've looked at your website
for how you have things organized. Ohreally? Oh yeah. Let's I think cuz we,
you, you do a lot ofdifferent things and I do too,
and it often feels overwhelming to tryto like figure out how to present that on

(32:44):
one website.
So it's been kind of cool to lookat yours and see what you've done.
Yeah. Glad it's helpful. Yeah.
Yeah, yeah. Um, alright,well thanks so much for, oh,
we're gonna listen to one more track.Oh. But we haven't chosen it yet.
oh, maybe let'sdo, um, BPM it's short.
The other one is like 17 minutes.

(33:05):
Perfect.
Um, and it's BPM, beautifulpiano music was for my album,
but it also ended up beingfor my friends fashion film.
Okay.
Yeah. So it's, it'sjust, it's really like,
I guess it's like a loveletter to the piano in a way.
And it's also a joke a littlebit because it's like, I mean,

(33:25):
to me it's so personal. It's like, amI allowed to write music like this?
Like straight up, wannabe show pan music as.
As opposed to something more quoteunquote experimental or new musicy yeah.
Yeah.
Or out there and also beautiful pianomusic I think is one of the most searched
things on Spotify. So Ithought that was funny.

(33:46):
I love it. Well,
let's listen to BPM from sugar VEthank you so much for joining me today.
Oh, thanks for having me.

(37:26):
And so we come to the end ofanother episode of Mikey PODD.
Thanks so much for joiningme. Thank you for listening.
Now that I'm off of social media,
I might do a little extra bonus pushfor you to share this podcast with, uh,
your friends, people that youthink might like the show.
Maybe tell a person or twoabout this. Uh, thank you.
Did I already say thankyou to sugar? Well,
thank you again if I already did already.

(37:47):
And I forgot to mention in the beginningof the show, I've opened up my, uh,
discord server. Um, for everyoneit's like a public server now.
So if you're listening tothe podcast and you're, uh,
discord person just come us up by, there'sreally very little happening there.
So it'd be nice for youto come and, and talk.
It just feels like a bettercommunity type thing to do.

(38:07):
That's the type of thing I'm sort ofheaded toward while I am on my little
social media break,
which I should probably stop talkingabout because is that becoming more of an,
uh,
addiction than the addiction ofsocial media talking about how I'm not
addicted? That's reallyinteresting. It really isn't.
Thanks for listening andI'll see you next time.