July 8, 2020 • 39 mins
Welcome to another episode of No Need to Ask Podcast. My name is Amani Duncan and I will be your host on this journey.
On episode 5, we are launching a new series for No Need to Ask entitled "New Artist Spotlight". I am thrilled to be able to have on the show Madeline Nelson, the first female founder and CEO of the independent label and distribution company Heads Music. Joining Madeline is her newest signing Hannah Eggen.
If you appreciate discovery of new talent and music, this is an episode you do not want to miss.
Be sure to catch up on previous episodes, including episode 5 "CEO Talk with Madeline Nelson".
If you like No Need to Ask Podcast, I encourage you to leave a review here.
Thank you and until we meet again, be safe and be well.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:20):
[inaudible] [inaudible]
Speaker 2 (00:21):
Welcome.
And thank you for joining.
No need to ask podcast.
My name is Amani Duncan, and Iwill be your host on this
journey.
So this is a continuation ofpart, one of the, no need to ask
new artists series.
And we have with us once again,Madeline Nelson, CEO of heads,
music and joining Madeline, andI is Hannah Egen, who is heads
(00:46):
music, newest artists, welcometo no need to ask podcasts.
How are you Hannah?
I'm doing so well.
Absolutely.
Thank you for joining.
I'm such a, such a fan of whatI've heard thus far, and it is
my pleasure to have you on thispodcast, because I think your
(01:10):
music and your message andeverything about you is
something the world it willembrace.
And everyone needs to know aboutyou early.
So that they're part of thediscovery process as well.
So Madeline heads music, I, youhave such an incredible roster
of artists that are on thelabel, as well as your
management.
I mean, it includes multi Grammyaward winning Wyclef.
(01:35):
Who's just incredible jazzjazzy, Emre, Riley, Jeremy
Torres, who is just simplyincredible.
Um, and Ida to Lou, am I sayingher her name, right?
EDA EDA to Lou.
She is dynamic I'm I'm like anUber fan followed her all over
(01:55):
Instagram.
Her new video is simplyincredible.
She's almost at half a millionon Oh yes.
Yes.
Which is wild.
It's wild because you wouldn'thave thought this is a girl from
Norway and this is a pop song.
Incredible and incredible onthat platform.
That's where she's hit already.
And it's um, and she put achallenge up and they called me
(02:18):
up and asked, can they create abanner ad for the challenge
because the song's doing sowell.
Wow.
Yeah.
Wow.
Well, she's incredible.
And obviously Hannah is thevoice, the voice.
It is simply, I mean, it justmoves me every time I listen to
your song, eight minutes and 46seconds.
(02:40):
It's just breathtaking.
But before we go into the song,which is just so powerful, um,
Madeline, you have on the headsmusic website, um, a quote that
I love and it's says becausehead's music is an Indy.
We have the freedom to work,whomever
Speaker 3 (03:00):
We like, and I, you know, coming from the record
label, I can so appreciate thisstatement.
Um, it's just powerful and it's,it's really unique.
And it's, to me it's adifferentiator, you know, as you
know, from working in the recordbusiness, we, we don't pick who
we work with.
Right.
We have to work the roster andgive everyone the same amount of
(03:21):
attention and push, um, acrossthe board because that's what
they deserve and nothing less.
Right.
But, you know, talk to us aboutthat.
You being like really in thedriver's seat to follow, you
know, your instincts that wetalked about in part one to
identify those amazing talents.
I mean, it must be thisincredible sense of freedom that
(03:44):
that's what it is.
It really is free to add Sony.
I worked across all three labelsand, um, so I started to
understand that freedom then,even though I was inside a major
label because, because I workedfor the CEO, you know, part of
my job was to tell him what thepriorities should be in my
(04:05):
opinion, across the labels.
And so I got to choose whichartists I worked with and that's
how I ended up working on JCole, Al Varner, um, Willow
Smith's, uh, first record, uh,with my hair, um, ASAP Rocky
things where the artists that Iwas coming back to Doug and
saying, these are the ones,these, these should be the
(04:28):
priorities.
And so I started to taste thefreedom then for the, for the
first time, really from, frombeing inside of a label.
Um, but there were, there wereall these other parts and pieces
that didn't feel like freedom,right?
Um, so here, not only do I getto choose which artists I want
(04:49):
to work with, I get to choosewho I work with on marketing
then who I work with onpromoting them, who I work with
on promoting the video.
I who's going to be the PR Ihave, I get a choice.
I don't get stuck with someonewho maybe does not share my
(05:09):
point of view or mysensibilities exactly how, or
what's worse, the artistsensibilities or points of view.
Exactly.
So those, those things are justas important.
When you think about thatfreedom as an indie on who you
get to work with, it's also justas important who you get to work
(05:29):
with on, on getting the musicout there,
Speaker 1 (05:33):
Memories[inaudible].
But my tee shirt says thisSandra bland, who is the bloody
(05:57):
Hannah you're, you're just
Speaker 2 (05:58):
This multi hyphenated phenom.
I mean, literally like you'refrom a small Island in Bermuda.
You know, we were talkingearlier.
I you're the first person I knowfrom Bermuda.
I love it.
Um, such a beautiful, just thebeautiful Island that produces
beautiful people.
I mean, you're a singer, you'rea songwriter, you're a dancer,
(06:19):
you're a musician.
Um, you're an actress, like it'sjust multi hyphenated.
And I see why Madeline is justgravitating to, to you.
You just fit, you fit theparadigm of, you know, the multi
hyphenated artists that Madelinealways seems to gravitate to
rightfully so.
(06:40):
Um, you know, let's talk aboutyour early performance days.
You know, you started out as adancer first, was that your
main, like passion?
Speaker 3 (06:50):
That was so okay without going way too far, this
will be a quick little snippet.
I was six years old.
Right.
I was watching the Olympics withmy mom and there was figure
skaters.
And I was like, mom, I'm goingto do that.
And it wasn't necessarily figureskating.
It was a passion and vigor intheir performance that I wanted
(07:13):
to do.
Like, I know I wanted toperform, I saw the crowd, I just
love the movement.
Right.
So, um, after that, you know,she put me in competitions and
things like that.
And I did this one competition.
Um, I lived in Atlanta for alittle while when I was younger
and, um, they ate me alive.
(07:36):
Okay.
I was the only, I was the onlyone in the, in the, in the room
who looked like me, everyoneelse was potluck it and drugs
song.
And I come out, they wheel outthis old kind of cars.
They reload as old as piano, thesqueaking across the floor.
(07:59):
I come out with my Turkey socksand I sit down at this piano and
start playing and I hear boom,get out of here where he came
from.
I died.
And the thing about it, right?
Needless to say, I didn't winany of that television.
(08:20):
And I cried so hard.
I cried crying on stage, youknow, shortly after that, we
went to Bermuda.
Um, and I fell in love withdance.
I fell in love with theater.
Um, I was the best being societypresident for four years of my
high school endeavors.
(08:42):
And then I joined the BMDs,which is the Bermuda musical
dramatic society.
And for about seven years withthem, I did theater and dance
and choreography and things likethat.
And, um, they kind of lended me,you know, right out of high
school.
Yeah.
(09:02):
I'm going all the way.
Anyway.
Right out of high school, um, Iwas working in a spa and Wyclef,
John legend, Alicia keys.
Everyone came into the spabecause it was a jazz festival
in Bermuda.
So I'm like, yo, I'm getting offthis Island one way or the other
(09:24):
I've done all that.
I can, I've done everyproduction.
Um, so I printed out my littleresume headshot.
It was so unprofessional, socrazy.
Listen, everything I did.
And I was like, this is what I'mdone.
Just take it.
And I gave it to Alicia keys.
I gave it to John legend.
I gave it to white cliff and I'mlike, yo, so why?
(09:50):
Perhaps my manager Sharma hisstore manager.
He hit me up and asked me toaudition in New York at the
Nokia theater.
And that audition is actually onYouTube and the rest is history.
Um, I started choreographing.
He told me to pick up theguitar.
I picked that up the next day Iwent to guitar center and picked
(10:11):
it up immediately.
Um, I've been, I'm stilllearning.
Of course I haven't masteredanything about this guitar, but
I'm learning still.
Speaker 2 (10:23):
Yeah.
You're being very humble andgracious.
Speaker 3 (10:30):
You got it.
You got it.
Yeah.
Well, I'm still learning and,and, you know, taking my time
with it so that, you know, Iwill be masterful with it.
You know, working with Madeline,working with white flip, they
give me opportunities thatpeople will kill for, um, to be
able to be in the presence ofCarlos Santana and hear his
(10:51):
wisdom.
And my goodness, this journey,the journey has been heavy,
heavily rooted in just patchingthen, you know, wanting it, you
know,
Speaker 2 (11:04):
I think that's so important for the young
listeners that, you know, wantto be in the music business as
an artist.
You know, it's, it's, it's theshared experience that helps
people understand all that goesinto actually getting to the
(11:25):
point where you can sign with alabel.
You know, it's like, I'm alwayshearing about the shortcuts that
everyone's trying to do.
And I'm like, there, there areno short, I don't understand
what you're doing.
There are no shortcuts.
If you want to be a careerartist, which is really the only
artists that anyone wants toinvest in, you, you just can't
(11:48):
jump the line.
And if you do jump, the line ishard to sustain it
Speaker 3 (11:54):
Because you're not putting in the work, changes,
change.
The microwavable artists do notsustain.
They can't scale.
They cannot scale.
So your determination, I love,you know, I'm saying I'm going
(12:19):
to leave Bermuda.
Yeah.
I'm going to travel the world.
I'm going to do everything I canto achieve my greatness.
You know, were there momentsalong your journey, um, where
you just felt like, okay, thisisn't, I'm discouraged.
I'm, I'm tired of hearing.
(12:39):
No, I feel like I'm treadingwater, whatever that may be.
But if you can talk to us aboutthat one moment where you were
just like, I don't know, youwere really being tested.
Uh, there are a number I'mtrying to pick.
One that I think artists,artists can sort of relate to
(13:02):
because it is, it is a definitejourney of ups and downs.
You will definitely beencouraged and discouraged.
Um, one of, one of my momentswas when I moved to California,
I moved to California four yearsago.
I had an intention to stay herefor a month to do a tour with
the fan and go back home toBermuda.
(13:24):
That was my point it's fouryears.
And I'm still in California.
You know what I mean?
I do to know what goes inside ofthat, to know that I was
sleeping in my car to know thatI was couch surfing on
strangers' couches.
Um, you know, just out of thechurch, like, Hey, you know, can
(13:45):
I come over for a potluck?
And then, Hey, can I stay overfor a little while?
You know what I mean?
Like definite journey men.
And, you know, I questionedmyself like, can I really do
this?
And, and that's a very, I'venever voiced that before.
(14:06):
Like those are, those arethoughts that you have, what you
don't share, because I'm goingto get this and everyone's going
to know that I'm gonna get this.
But to be brutally honest, I hada moment where it's like, damn,
should I just go back home andfall in line with the nurses in
my family?
Right.
So, um, what, what pushed mebeyond that was going back to
(14:32):
the drawing board of writing.
Um, when I feel a littlediscouraged like that, I just
write and I, I have the thingcalled a creative clock and
because I literally have to dothis or I can't survive.
There's a time where I need toprofusely write, just write,
(14:54):
just write, just write.
Then there's a time when I haveto read and only read, like, I
don't even worry about writing.
I don't worry about music oranything.
Then there is the time when Ihave to paint.
Right.
And then there's a time when Ihave to practice and I just
vigorously practice and, youknow, and then performance is
just something I'd love to do.
So that just always comes, but Ineed that creative club to keep
(15:19):
me going, um, in my creativity.
Um, so in those discouragingmoments, that's what I do.
I turn the clock, I turn thehand of my, what I focus on so
that I keep on going, findingthat inspiration yes.
Or little bit, you know,exactly.
I love that
Speaker 2 (15:38):
The creative clock I I'm gonna, I do.
I really like it.
So my question about thecreative clock, does it change
or is it pretty consistent withthe outlets you use
Speaker 3 (15:52):
Painting, reading, practicing?
Speaker 2 (15:56):
Does it change from day to day?
Speaker 3 (15:58):
It doesn't change from day to day.
Um, I will call them long hours.
It's like a season I would saylike, uh, it's I have different
seasons, but I call it a clockbecause it's just, it's just
what it's time to do.
I know it's time to focus onthis.
I know it's time to focus onthat.
Right.
So, um, that's, that's how Ikind of do it.
(16:21):
I love it.
And thank you for sharing
Speaker 2 (16:23):
Your creative process.
I know that's, I've learnedsomething.
I liked the creative clock idea.
I'm going to start using it,
Speaker 3 (16:29):
Honestly.
It's, it's really smart forcreative people that are,
Speaker 2 (16:34):
You know, I'm, I'm writing a book.
I actually, I've written a bookand I'm in developmental edits
that I keep refusing to.
Speaker 3 (16:43):
Right.
Speaker 2 (16:45):
And I I'm finding all of these reasons to distract
myself from sitting down.
And, and I don't know if it'sfear
Speaker 3 (16:54):
Know, ask you, are you afraid to finish the book?
Speaker 2 (16:58):
It, it may be.
Cause because there's no reasonwhy I'm, you know, should be
dodging actually sitting downand tackling these edits.
Okay.
Speaker 3 (17:09):
Thank you.
Yeah,
Speaker 2 (17:18):
Girlfriend, no need to ask.
I'm already invested
Speaker 3 (17:21):
In your future.
So it really isn't
Speaker 2 (17:24):
The girlfriend, no need to ask platform.
Um, but anyway, back to you,since your creative thoughts
here,
Speaker 3 (17:34):
What mode, like what made you say to yourself,
Speaker 2 (17:39):
Heads music is where I need to be.
Speaker 3 (17:43):
Well head's music and I's relationship has been a
developing, um, strongrelationship for a very long
time.
Um, when I first was introducedto Madeline, I was in awe of her
power of her know how have herdo it.
(18:03):
And when we were in the creativeprocess of, um, putting out
music, creating music and thingslike that, um, and Madeline
correct me if I'm wrong.
No, we, we clashed in a sense of, um, I wouldn't say creatively
(18:28):
crashed, but we, we crashed onlike, when should it be put out,
when is this happening?
You know, what, what, who areyou as an artist?
You know?
And I think, I think in, in Meditrying to figure out who I was
as an artist, um, I guess whatwas said, the direction of
things wasn't sitting right withme, um, it just didn't feel
(18:52):
good.
It didn't feel like me, youknow, and that, that, um, I
would say deterred theprogression of the relationship
for a minute and, um, spare.
Yeah.
And, and that's just, that'sjust honest, but I think, I
think that time of cart, um, andeven me metal, and you met me
(19:16):
when I was very young, like, Ididn't know who I was fully.
Right.
You helped me figure out who Iam as an artist.
And, and that's the part thathas made me say, hell yes, two
heads because of the patientsthat Maddie has, the, the
experience, of course, the ear,of course it's like, but what
(19:40):
the patients and development andthe understanding of who I was,
I argue with Maddie on, on eight46, eight minutes and 46
seconds.
Cause I wanted to put it out awhile ago.
I was profusely crying.
Like this has to come out.
Now this is a need, this isnecessity right now.
(20:02):
Like, do you know what's goingon?
And she's like, we have to waitHannah, we have to wait.
And it was just look at that,that instinct that she has just
ridiculous.
So, um, my respect level andlike, just like you said
earlier, that humble, thathumble bug that you need to eat.
(20:23):
Right.
Eat that.
Cause I was like, I'm ready.
And you're not exactly.
Sometimes you have to defer tothe pros.
It doesn't mean that yourposition or your feelings are
valid.
I think Maddie is so measuredwith that.
Her skill level is bar none whendealing with artists at all
(20:46):
different levels.
I mean, this woman
Speaker 2 (20:48):
Was, you know, I'm speaking about you.
Like you're not here Madeline,but you know, seriously.
I mean, you're, you, you know,you're your ear for talent at
every level is, is so premiere.
But then, you know, you alsohave worked and discovered so
many artists and then alsoworked with intimately, the
Michael Jackson's, you know, theTeddy Riley's.
(21:09):
I mean, the, the scope of yourexperience is, is so broad and
diverse.
And I, you know, if I was anartist, I would want you to sign
me, um, for the sole reason thatyou you're so invested.
I know you're so invested andyou can feel that even, you
(21:30):
know, when I'm standing on thesideline, watching it, you know,
I remember, um, heads music, youknow, showcase when we did push
live MTV live.
I mean, Maddie was the firstindie label to ever debut their
artists on the platform and justwatching her work.
(21:51):
And you can feel it, you couldfeel that energy and, and you
know, that's not always the caseat a major, no, that's not
always the case.
You know, that special attentionthat develop, you know, artist
development process, which is,was taken away many, many years
(22:11):
ago at major labels.
It just no longer existed.
And that was one area that Ifelt, you know, one department
that should've stayed, you know,it really should have actually
not a department anywhereanymore.
You know, it's not, it's not,it's not that blows my mind to
always feel that that's an areathat really was and is missed in
(22:34):
, um, in labels, major labelsmissed.
And it's obvious.
Absolutely.
So I would love Hannah to, foryou to talk about this simply
incredible timely dynamic bodyof work, eight minutes, 46
seconds.
Um, yeah, it's, it's powerfullady
Speaker 1 (22:59):
Fears.
They aren't gas in my teeshirts.
Ooh, is the blue.
Speaker 2 (23:21):
I just want you to talk about everything
surrounding this beautiful,beautiful piece of work.
This song is so heavy in myheart because being, being, uh,
a child of a black woman and awhite man is very tough.
(23:43):
And, um, you know, throughout mylife,
Speaker 3 (23:46):
I've experienced racism from both sides of my
family.
So this the song, you know, andeven though it's on police
brutality, it's based off ofracism.
Like they're profiling us there.
It's just ridiculous.
So this the song I criedprofusely writing it honestly.
Um, cliff cliff came with theidea of it.
(24:08):
And when we were in the studioworking on a totally different
song, he was like, yo, and thenit just, it just came.
And he was like, you'll like,let's put some lyrics to this.
And it just, it, it came so easybecause the passion and the
(24:29):
anger, the despair was there.
And, um, you know, like I w Iwant to personally deliver this
song to the families.
I message in the song I want, Iwant to go there and give them
this song and give themsomething that they can have
(24:50):
from me because of how deep thesong is to me.
Um, like it's funny becausepeople in Bermuda, it's like th
they're they know about thingsthat are happening in America,
but they don't really, they'renot invested in it like that
little Island who cares, youknow, what's going on over
(25:11):
there.
So I I've heard through Ireland,France and things that people
are saying that I'm jumping on abandwagon and exploiting people,
and they don't know, they don'tknow where my heart is on this.
They don't know what's happeninginside of me.
(25:32):
That made me write this song andmy experiences in life.
Um, and Nina Simone said it, yobe a reflection of the times.
And that's why I keep onreiterating it every time I post
about the song, because I am anartist reflecting the times,
that's all I'm doing.
(25:53):
Yes.
You are like Nina Simone, likeBilly holiday.
Like why cliff?
Like every, every true artistwho, who respects their
surroundings and sees art ineverything happening around
them.
So, you know, that just, itmakes me want to push even
harder to, you know, make peoplenot, I really don't care what
(26:18):
people think about me, but Iwant people to respect the
artistry of what's happeninghere because that's, that's all
it is.
You know what I mean?
And I have pure intentions withmy art.
So that's, that's just what itis.
This song, this song is veryheavy to me.
And, um, I just hope that peoplewho hear it can find the
(26:40):
strength can find theperseverance
Speaker 2 (26:44):
And, um, the determination to not slow down
on making actual change habits.
Oh, speak truth to power Hannah.
I mean, absolutely.
Yes.
Yes.
And it is powerful friends.
We're going to play a bit ofeight minutes and 46 seconds
Speaker 1 (27:10):
Now.
Hey, now love is the answer.
Why they hate the word fall,like the young Brown fence or
(27:30):
the way everybody thinks likethe wild, wild West gun in his
head.
He went from plain to the realthing.
Bang, bang,[inaudible] pass, butno one's happy fears.
(28:15):
They hurt my eyes.
Speaker 2 (28:27):
This powerful song will be released on all DSPs on
July 17th.
So please make it a point to goto your favorite DSP and
download this powerful song.
I believe wholeheartedly thatevery single person needs to
take a listen, Hannah, I thankyou for using your voice and
(28:52):
using your artistry for good tohelp continue the energy, the
passion, and the fervor, notletting the movement dissipate
as we've seen so many times.
Unfortunately it can't happenagain.
It can not.
(29:13):
And I am often optimistic aboutthe future because what I have
seen from the youth, this yourgeneration is powerful.
You and your generation areboldly staring in the eye
racism.
Exactly.
And saying no more, no more.
(29:36):
And we're ready.
We're ready.
So I have faith.
I have faith.
And we stand with you.
And I, you know, honestly, whatdid you know, what a powerful
debut, you know, I know you'vebeen in the business and you
have, it's just such an likeyour journey is, is just really
(29:58):
beginning on the main stage andwhat a powerful debut, eight
minutes and 46 seconds is foryou.
Speaker 3 (30:07):
Yeah.
I'm humbled.
I'm humbled.
I am, I know the type of, um,position I'm being put in and I
know what type of shoes I needto fill.
And I feel like I can do it.
And I feel like with being ableto lean back and rely and trust
(30:33):
and have that push from Madelinefrom white class, have that
wisdom from different peoplethat I've met in the industry.
I, um, my breath is taken.
Like, I'm very grateful.
I'm very grateful.
Speaker 2 (30:52):
I adore you.
I'm your number one fan.
I starting the fan club.
I mean, you you're giving mechills, honestly.
You're, you're magnificent.
And I, Oh, I can't wait to hearmore and more and more from you.
Um, you are with the mostdynamic team and I'm so happy
(31:14):
that you're putting your trustin Madeline and heads music,
because they are simply the bestand Madeline's simply the best.
So, Oh, I have to take a momentto drink, drink some water that
I don't have.
You just feel, you know, yourenergy through my speakers, my
(31:36):
headsets.
It's beautiful.
And I, I'm just humbled andthankful that you are a part of
this new artists series for noneed to ask podcasts.
Um, so what is, you know,Madeline Hannah, what is next?
Speaker 3 (31:53):
We, we really have to work this record, this, this
song, this single, um, butHannah's already created a ton
of music.
That's, what's beautiful.
Um, she's got all kinds offollowup.
There is no question that shecan, um, match this song.
She can talk the song.
(32:14):
Um, her level of versatility isincredible in the music and very
must be very much.
And I was having thisconversation with Y cleft the
other day.
Um, and I was telling him that Ihad purposely listened to, um,
Liz O's album beginning to endlike 10 times while I was
cooking a couple of weeks ago,because the versatility of the
(32:38):
album, the fearlessness of likemixing all those genres on one
album is exactly what thecombination is of Hannah's
music, the music that, you know,she's accumulated over the last
few years, uh, it reminds me ofLiz's album.
It's, it's, there's a couple ofdifferent genres.
There's, um, stuff that soundslike jazz there's wagon.
(33:04):
Um, there's like scat music.
It's, it's this beautiful likecombination though everything
that is her, there's nothingthat is separate of her style or
her personality though, eventhough different genres.
Um, and that's the only thingthat I can compare it to right
(33:25):
now that I like I love deeply isdeliberate album.
So what's next for us is to, todo right by this single and
prepare the next and the nextand the next
Speaker 2 (33:37):
Love it.
Yeah.
I mean, I'm, I'm here for thejourney.
Count me.
I'm here for the ride, you know,number one fan over here.
So before we close thisincredible conversation, um, I
always do two questions.
Um, for both of you, one iscalled trading places.
(33:59):
So if you could trade placeswith anyone living or anyone
that's passed on, who would thatperson be and why
Speaker 3 (34:11):
I would trade places, Whitney Houston.
Speaker 2 (34:15):
Okay.
Speaker 3 (34:17):
I would want to know what it's like to have that.
Speaker 2 (34:22):
Wow.
Wow.
Wow.
Speaker 3 (34:23):
I know what it's like to recognize that voice and
before anybody else does, youknow, um, but I would love to,
to have that voice, I would loveto know what it's like to, to
just stop time when you justsing.
Literally one note.
(34:44):
I mean,
Speaker 2 (34:46):
That's such a good one.
Um, Hannah.
Okay.
Okay.
Okay.
I, you for one day.
Yeah, just for one day.
All right.
I'll be Beyonce.
Okay.
Only because I want to know whatI'd like to be beyond saying,
but I would also like to knowwhat it takes to be Beyonce.
(35:07):
You know what I mean?
That's a good, that's a goodpoint of view.
It is heavy.
Yeah.
That's what I want to know.
All the details of what it takesthe trade secrets.
Yes.
I love your answers.
Both of you go good.
Um, what are you reading?
Speaker 3 (35:27):
Ha what am I rereading?
Speaker 2 (35:28):
Yeah, exactly.
Yeah.
Speaker 3 (35:34):
I read Assata when I was in my early twenties.
It was, you know, we allprobably read a couple of books
that are true, uh, life changersand, and, um, attitude shifters,
you know, and when I read it,when I was in my twenties, it
(35:55):
just made me feel like I wasinvincible.
There was nothing I couldn't do.
There was, I mean, the thingsthat she survived, how tough she
is was is, um, I just, she, shejust made me proud and, and, and
(36:18):
just made me feel, yeah, like I,like I could take on the world.
So, so I'm really at again,because I went through a tiny
little moment of when I made thesport of imposter syndrome where
you, you, the big thing happensand you're like, am I really
(36:39):
good enough for this?
Right.
Um, so I pulled her out.
I ordered a new copy the way.
Yeah, it's a good one.
Speaker 4 (36:53):
That's a good one.
Thank you, Madeline, for sharingHannah, what page Turner are you
, uh, currently invested in?
Speaker 3 (37:01):
So I haven't started it because it's not time yet my
creative clock, but I'm intransition and I'm about to
start this book called theartist's way.
Okay.
And yes.
So, um, it was, it was suggestedto me, and I know that it talks
about, you know, just divingdeeper on why you create, where
(37:26):
it comes from and who you'regiving it to, you know, and the
power that you possess in yourcreativity.
Um, so I'm always diving deeperinto really what I want people
to feel, what I want people torealize about themselves in
artistry and creativity and intheir general lives.
(37:47):
And, um, so this is what I'mabout to be starting.
I love participating.
You should get that one.
It's, it's like a workbook.
I, I D I did it a long, long,long time ago.
And for you, um, needing to getback to getting that book
finished, the artist's way couldbe, yeah.
(38:08):
And you have us on this podcastright now.
I believe that to be true.
It's actually really, um, youknow, it's like a guided, you
know, therapy session, really,because in this section, it's
like, um, it's like complete thesentence.
People with money are blank.
Money makes people blink, youknow, so you have to fill that
(38:30):
in and it really gets your mindticking to where you are as a
creative, Oh, I need this.
Speaker 2 (38:38):
So friends as always, I will list out these two books
in the body of the podcastdescription.
And I encourage you to, if youhave not read either, please go
to Amazon and order your copytoday.
I know I will.
Hannah Madeline.
(38:58):
I mean, from the bottom of myheart, thank you for
participating and just forsharing.
And I've learned so much, I'msure the listeners have learned
so much as well.
Um, it's just, it thrills me tohave two dynamic women leaders
in their own way, um, on thepodcast and to be able to help
(39:20):
amplify the stories that I feelneed to be heard.
So thank you both again, andthank you so much.
My extreme pleasure.
So friends, and this is the endof no need to ask podcasts with
Madeline Nelson and Hannah Eggen.
I got it.
Right.
(39:41):
So until next time, please bewell and be safe.
Thank you.
[inaudible] [inaudible]
Speaker 2 (00:21):
Welcome.
And thank you for joining.
No need to ask podcast.
My name is Amani Duncan, and Iwill be your host on this
journey.
So this is a continuation ofpart, one of the, no need to ask
new artists series.
And we have with us once again,Madeline Nelson, CEO of heads,
music and joining Madeline, andI is Hannah Egen, who is heads
(00:46):
music, newest artists, welcometo no need to ask podcasts.
How are you Hannah?
I'm doing so well.
Absolutely.
Thank you for joining.
I'm such a, such a fan of whatI've heard thus far, and it is
my pleasure to have you on thispodcast, because I think your
(01:10):
music and your message andeverything about you is
something the world it willembrace.
And everyone needs to know aboutyou early.
So that they're part of thediscovery process as well.
So Madeline heads music, I, youhave such an incredible roster
of artists that are on thelabel, as well as your
management.
I mean, it includes multi Grammyaward winning Wyclef.
(01:35):
Who's just incredible jazzjazzy, Emre, Riley, Jeremy
Torres, who is just simplyincredible.
Um, and Ida to Lou, am I sayingher her name, right?
EDA EDA to Lou.
She is dynamic I'm I'm like anUber fan followed her all over
(01:55):
Instagram.
Her new video is simplyincredible.
She's almost at half a millionon Oh yes.
Yes.
Which is wild.
It's wild because you wouldn'thave thought this is a girl from
Norway and this is a pop song.
Incredible and incredible onthat platform.
That's where she's hit already.
And it's um, and she put achallenge up and they called me
(02:18):
up and asked, can they create abanner ad for the challenge
because the song's doing sowell.
Wow.
Yeah.
Wow.
Well, she's incredible.
And obviously Hannah is thevoice, the voice.
It is simply, I mean, it justmoves me every time I listen to
your song, eight minutes and 46seconds.
(02:40):
It's just breathtaking.
But before we go into the song,which is just so powerful, um,
Madeline, you have on the headsmusic website, um, a quote that
I love and it's says becausehead's music is an Indy.
We have the freedom to work,whomever
Speaker 3 (03:00):
We like, and I, you know, coming from the record
label, I can so appreciate thisstatement.
Um, it's just powerful and it's,it's really unique.
And it's, to me it's adifferentiator, you know, as you
know, from working in the recordbusiness, we, we don't pick who
we work with.
Right.
We have to work the roster andgive everyone the same amount of
(03:21):
attention and push, um, acrossthe board because that's what
they deserve and nothing less.
Right.
But, you know, talk to us aboutthat.
You being like really in thedriver's seat to follow, you
know, your instincts that wetalked about in part one to
identify those amazing talents.
I mean, it must be thisincredible sense of freedom that
(03:44):
that's what it is.
It really is free to add Sony.
I worked across all three labelsand, um, so I started to
understand that freedom then,even though I was inside a major
label because, because I workedfor the CEO, you know, part of
my job was to tell him what thepriorities should be in my
(04:05):
opinion, across the labels.
And so I got to choose whichartists I worked with and that's
how I ended up working on JCole, Al Varner, um, Willow
Smith's, uh, first record, uh,with my hair, um, ASAP Rocky
things where the artists that Iwas coming back to Doug and
saying, these are the ones,these, these should be the
(04:28):
priorities.
And so I started to taste thefreedom then for the, for the
first time, really from, frombeing inside of a label.
Um, but there were, there wereall these other parts and pieces
that didn't feel like freedom,right?
Um, so here, not only do I getto choose which artists I want
(04:49):
to work with, I get to choosewho I work with on marketing
then who I work with onpromoting them, who I work with
on promoting the video.
I who's going to be the PR Ihave, I get a choice.
I don't get stuck with someonewho maybe does not share my
(05:09):
point of view or mysensibilities exactly how, or
what's worse, the artistsensibilities or points of view.
Exactly.
So those, those things are justas important.
When you think about thatfreedom as an indie on who you
get to work with, it's also justas important who you get to work
(05:29):
with on, on getting the musicout there,
Speaker 1 (05:33):
Memories[inaudible].
But my tee shirt says thisSandra bland, who is the bloody
(05:57):
Hannah you're, you're just
Speaker 2 (05:58):
This multi hyphenated phenom.
I mean, literally like you'refrom a small Island in Bermuda.
You know, we were talkingearlier.
I you're the first person I knowfrom Bermuda.
I love it.
Um, such a beautiful, just thebeautiful Island that produces
beautiful people.
I mean, you're a singer, you'rea songwriter, you're a dancer,
(06:19):
you're a musician.
Um, you're an actress, like it'sjust multi hyphenated.
And I see why Madeline is justgravitating to, to you.
You just fit, you fit theparadigm of, you know, the multi
hyphenated artists that Madelinealways seems to gravitate to
rightfully so.
(06:40):
Um, you know, let's talk aboutyour early performance days.
You know, you started out as adancer first, was that your
main, like passion?
Speaker 3 (06:50):
That was so okay without going way too far, this
will be a quick little snippet.
I was six years old.
Right.
I was watching the Olympics withmy mom and there was figure
skaters.
And I was like, mom, I'm goingto do that.
And it wasn't necessarily figureskating.
It was a passion and vigor intheir performance that I wanted
(07:13):
to do.
Like, I know I wanted toperform, I saw the crowd, I just
love the movement.
Right.
So, um, after that, you know,she put me in competitions and
things like that.
And I did this one competition.
Um, I lived in Atlanta for alittle while when I was younger
and, um, they ate me alive.
(07:36):
Okay.
I was the only, I was the onlyone in the, in the, in the room
who looked like me, everyoneelse was potluck it and drugs
song.
And I come out, they wheel outthis old kind of cars.
They reload as old as piano, thesqueaking across the floor.
(07:59):
I come out with my Turkey socksand I sit down at this piano and
start playing and I hear boom,get out of here where he came
from.
I died.
And the thing about it, right?
Needless to say, I didn't winany of that television.
(08:20):
And I cried so hard.
I cried crying on stage, youknow, shortly after that, we
went to Bermuda.
Um, and I fell in love withdance.
I fell in love with theater.
Um, I was the best being societypresident for four years of my
high school endeavors.
(08:42):
And then I joined the BMDs,which is the Bermuda musical
dramatic society.
And for about seven years withthem, I did theater and dance
and choreography and things likethat.
And, um, they kind of lended me,you know, right out of high
school.
Yeah.
(09:02):
I'm going all the way.
Anyway.
Right out of high school, um, Iwas working in a spa and Wyclef,
John legend, Alicia keys.
Everyone came into the spabecause it was a jazz festival
in Bermuda.
So I'm like, yo, I'm getting offthis Island one way or the other
(09:24):
I've done all that.
I can, I've done everyproduction.
Um, so I printed out my littleresume headshot.
It was so unprofessional, socrazy.
Listen, everything I did.
And I was like, this is what I'mdone.
Just take it.
And I gave it to Alicia keys.
I gave it to John legend.
I gave it to white cliff and I'mlike, yo, so why?
(09:50):
Perhaps my manager Sharma hisstore manager.
He hit me up and asked me toaudition in New York at the
Nokia theater.
And that audition is actually onYouTube and the rest is history.
Um, I started choreographing.
He told me to pick up theguitar.
I picked that up the next day Iwent to guitar center and picked
(10:11):
it up immediately.
Um, I've been, I'm stilllearning.
Of course I haven't masteredanything about this guitar, but
I'm learning still.
Speaker 2 (10:23):
Yeah.
You're being very humble andgracious.
Speaker 3 (10:30):
You got it.
You got it.
Yeah.
Well, I'm still learning and,and, you know, taking my time
with it so that, you know, Iwill be masterful with it.
You know, working with Madeline,working with white flip, they
give me opportunities thatpeople will kill for, um, to be
able to be in the presence ofCarlos Santana and hear his
(10:51):
wisdom.
And my goodness, this journey,the journey has been heavy,
heavily rooted in just patchingthen, you know, wanting it, you
know,
Speaker 2 (11:04):
I think that's so important for the young
listeners that, you know, wantto be in the music business as
an artist.
You know, it's, it's, it's theshared experience that helps
people understand all that goesinto actually getting to the
(11:25):
point where you can sign with alabel.
You know, it's like, I'm alwayshearing about the shortcuts that
everyone's trying to do.
And I'm like, there, there areno short, I don't understand
what you're doing.
There are no shortcuts.
If you want to be a careerartist, which is really the only
artists that anyone wants toinvest in, you, you just can't
(11:48):
jump the line.
And if you do jump, the line ishard to sustain it
Speaker 3 (11:54):
Because you're not putting in the work, changes,
change.
The microwavable artists do notsustain.
They can't scale.
They cannot scale.
So your determination, I love,you know, I'm saying I'm going
(12:19):
to leave Bermuda.
Yeah.
I'm going to travel the world.
I'm going to do everything I canto achieve my greatness.
You know, were there momentsalong your journey, um, where
you just felt like, okay, thisisn't, I'm discouraged.
I'm, I'm tired of hearing.
(12:39):
No, I feel like I'm treadingwater, whatever that may be.
But if you can talk to us aboutthat one moment where you were
just like, I don't know, youwere really being tested.
Uh, there are a number I'mtrying to pick.
One that I think artists,artists can sort of relate to
(13:02):
because it is, it is a definitejourney of ups and downs.
You will definitely beencouraged and discouraged.
Um, one of, one of my momentswas when I moved to California,
I moved to California four yearsago.
I had an intention to stay herefor a month to do a tour with
the fan and go back home toBermuda.
(13:24):
That was my point it's fouryears.
And I'm still in California.
You know what I mean?
I do to know what goes inside ofthat, to know that I was
sleeping in my car to know thatI was couch surfing on
strangers' couches.
Um, you know, just out of thechurch, like, Hey, you know, can
(13:45):
I come over for a potluck?
And then, Hey, can I stay overfor a little while?
You know what I mean?
Like definite journey men.
And, you know, I questionedmyself like, can I really do
this?
And, and that's a very, I'venever voiced that before.
(14:06):
Like those are, those arethoughts that you have, what you
don't share, because I'm goingto get this and everyone's going
to know that I'm gonna get this.
But to be brutally honest, I hada moment where it's like, damn,
should I just go back home andfall in line with the nurses in
my family?
Right.
So, um, what, what pushed mebeyond that was going back to
(14:32):
the drawing board of writing.
Um, when I feel a littlediscouraged like that, I just
write and I, I have the thingcalled a creative clock and
because I literally have to dothis or I can't survive.
There's a time where I need toprofusely write, just write,
(14:54):
just write, just write.
Then there's a time when I haveto read and only read, like, I
don't even worry about writing.
I don't worry about music oranything.
Then there is the time when Ihave to paint.
Right.
And then there's a time when Ihave to practice and I just
vigorously practice and, youknow, and then performance is
just something I'd love to do.
So that just always comes, but Ineed that creative club to keep
(15:19):
me going, um, in my creativity.
Um, so in those discouragingmoments, that's what I do.
I turn the clock, I turn thehand of my, what I focus on so
that I keep on going, findingthat inspiration yes.
Or little bit, you know,exactly.
I love that
Speaker 2 (15:38):
The creative clock I I'm gonna, I do.
I really like it.
So my question about thecreative clock, does it change
or is it pretty consistent withthe outlets you use
Speaker 3 (15:52):
Painting, reading, practicing?
Speaker 2 (15:56):
Does it change from day to day?
Speaker 3 (15:58):
It doesn't change from day to day.
Um, I will call them long hours.
It's like a season I would saylike, uh, it's I have different
seasons, but I call it a clockbecause it's just, it's just
what it's time to do.
I know it's time to focus onthis.
I know it's time to focus onthat.
Right.
So, um, that's, that's how Ikind of do it.
(16:21):
I love it.
And thank you for sharing
Speaker 2 (16:23):
Your creative process.
I know that's, I've learnedsomething.
I liked the creative clock idea.
I'm going to start using it,
Speaker 3 (16:29):
Honestly.
It's, it's really smart forcreative people that are,
Speaker 2 (16:34):
You know, I'm, I'm writing a book.
I actually, I've written a bookand I'm in developmental edits
that I keep refusing to.
Speaker 3 (16:43):
Right.
Speaker 2 (16:45):
And I I'm finding all of these reasons to distract
myself from sitting down.
And, and I don't know if it'sfear
Speaker 3 (16:54):
Know, ask you, are you afraid to finish the book?
Speaker 2 (16:58):
It, it may be.
Cause because there's no reasonwhy I'm, you know, should be
dodging actually sitting downand tackling these edits.
Okay.
Speaker 3 (17:09):
Thank you.
Yeah,
Speaker 2 (17:18):
Girlfriend, no need to ask.
I'm already invested
Speaker 3 (17:21):
In your future.
So it really isn't
Speaker 2 (17:24):
The girlfriend, no need to ask platform.
Um, but anyway, back to you,since your creative thoughts
here,
Speaker 3 (17:34):
What mode, like what made you say to yourself,
Speaker 2 (17:39):
Heads music is where I need to be.
Speaker 3 (17:43):
Well head's music and I's relationship has been a
developing, um, strongrelationship for a very long
time.
Um, when I first was introducedto Madeline, I was in awe of her
power of her know how have herdo it.
(18:03):
And when we were in the creativeprocess of, um, putting out
music, creating music and thingslike that, um, and Madeline
correct me if I'm wrong.
No, we, we clashed in a sense of, um, I wouldn't say creatively
(18:28):
crashed, but we, we crashed onlike, when should it be put out,
when is this happening?
You know, what, what, who areyou as an artist?
You know?
And I think, I think in, in Meditrying to figure out who I was
as an artist, um, I guess whatwas said, the direction of
things wasn't sitting right withme, um, it just didn't feel
(18:52):
good.
It didn't feel like me, youknow, and that, that, um, I
would say deterred theprogression of the relationship
for a minute and, um, spare.
Yeah.
And, and that's just, that'sjust honest, but I think, I
think that time of cart, um, andeven me metal, and you met me
(19:16):
when I was very young, like, Ididn't know who I was fully.
Right.
You helped me figure out who Iam as an artist.
And, and that's the part thathas made me say, hell yes, two
heads because of the patientsthat Maddie has, the, the
experience, of course, the ear,of course it's like, but what
(19:40):
the patients and development andthe understanding of who I was,
I argue with Maddie on, on eight46, eight minutes and 46
seconds.
Cause I wanted to put it out awhile ago.
I was profusely crying.
Like this has to come out.
Now this is a need, this isnecessity right now.
(20:02):
Like, do you know what's goingon?
And she's like, we have to waitHannah, we have to wait.
And it was just look at that,that instinct that she has just
ridiculous.
So, um, my respect level andlike, just like you said
earlier, that humble, thathumble bug that you need to eat.
(20:23):
Right.
Eat that.
Cause I was like, I'm ready.
And you're not exactly.
Sometimes you have to defer tothe pros.
It doesn't mean that yourposition or your feelings are
valid.
I think Maddie is so measuredwith that.
Her skill level is bar none whendealing with artists at all
(20:46):
different levels.
I mean, this woman
Speaker 2 (20:48):
Was, you know, I'm speaking about you.
Like you're not here Madeline,but you know, seriously.
I mean, you're, you, you know,you're your ear for talent at
every level is, is so premiere.
But then, you know, you alsohave worked and discovered so
many artists and then alsoworked with intimately, the
Michael Jackson's, you know, theTeddy Riley's.
(21:09):
I mean, the, the scope of yourexperience is, is so broad and
diverse.
And I, you know, if I was anartist, I would want you to sign
me, um, for the sole reason thatyou you're so invested.
I know you're so invested andyou can feel that even, you
(21:30):
know, when I'm standing on thesideline, watching it, you know,
I remember, um, heads music, youknow, showcase when we did push
live MTV live.
I mean, Maddie was the firstindie label to ever debut their
artists on the platform and justwatching her work.
(21:51):
And you can feel it, you couldfeel that energy and, and you
know, that's not always the caseat a major, no, that's not
always the case.
You know, that special attentionthat develop, you know, artist
development process, which is,was taken away many, many years
(22:11):
ago at major labels.
It just no longer existed.
And that was one area that Ifelt, you know, one department
that should've stayed, you know,it really should have actually
not a department anywhereanymore.
You know, it's not, it's not,it's not that blows my mind to
always feel that that's an areathat really was and is missed in
(22:34):
, um, in labels, major labelsmissed.
And it's obvious.
Absolutely.
So I would love Hannah to, foryou to talk about this simply
incredible timely dynamic bodyof work, eight minutes, 46
seconds.
Um, yeah, it's, it's powerfullady
Speaker 1 (22:59):
Fears.
They aren't gas in my teeshirts.
Ooh, is the blue.
Speaker 2 (23:21):
I just want you to talk about everything
surrounding this beautiful,beautiful piece of work.
This song is so heavy in myheart because being, being, uh,
a child of a black woman and awhite man is very tough.
(23:43):
And, um, you know, throughout mylife,
Speaker 3 (23:46):
I've experienced racism from both sides of my
family.
So this the song, you know, andeven though it's on police
brutality, it's based off ofracism.
Like they're profiling us there.
It's just ridiculous.
So this the song I criedprofusely writing it honestly.
Um, cliff cliff came with theidea of it.
(24:08):
And when we were in the studioworking on a totally different
song, he was like, yo, and thenit just, it just came.
And he was like, you'll like,let's put some lyrics to this.
And it just, it, it came so easybecause the passion and the
(24:29):
anger, the despair was there.
And, um, you know, like I w Iwant to personally deliver this
song to the families.
I message in the song I want, Iwant to go there and give them
this song and give themsomething that they can have
(24:50):
from me because of how deep thesong is to me.
Um, like it's funny becausepeople in Bermuda, it's like th
they're they know about thingsthat are happening in America,
but they don't really, they'renot invested in it like that
little Island who cares, youknow, what's going on over
(25:11):
there.
So I I've heard through Ireland,France and things that people
are saying that I'm jumping on abandwagon and exploiting people,
and they don't know, they don'tknow where my heart is on this.
They don't know what's happeninginside of me.
(25:32):
That made me write this song andmy experiences in life.
Um, and Nina Simone said it, yobe a reflection of the times.
And that's why I keep onreiterating it every time I post
about the song, because I am anartist reflecting the times,
that's all I'm doing.
(25:53):
Yes.
You are like Nina Simone, likeBilly holiday.
Like why cliff?
Like every, every true artistwho, who respects their
surroundings and sees art ineverything happening around
them.
So, you know, that just, itmakes me want to push even
harder to, you know, make peoplenot, I really don't care what
(26:18):
people think about me, but Iwant people to respect the
artistry of what's happeninghere because that's, that's all
it is.
You know what I mean?
And I have pure intentions withmy art.
So that's, that's just what itis.
This song, this song is veryheavy to me.
And, um, I just hope that peoplewho hear it can find the
(26:40):
strength can find theperseverance
Speaker 2 (26:44):
And, um, the determination to not slow down
on making actual change habits.
Oh, speak truth to power Hannah.
I mean, absolutely.
Yes.
Yes.
And it is powerful friends.
We're going to play a bit ofeight minutes and 46 seconds
Speaker 1 (27:10):
Now.
Hey, now love is the answer.
Why they hate the word fall,like the young Brown fence or
(27:30):
the way everybody thinks likethe wild, wild West gun in his
head.
He went from plain to the realthing.
Bang, bang,[inaudible] pass, butno one's happy fears.
(28:15):
They hurt my eyes.
Speaker 2 (28:27):
This powerful song will be released on all DSPs on
July 17th.
So please make it a point to goto your favorite DSP and
download this powerful song.
I believe wholeheartedly thatevery single person needs to
take a listen, Hannah, I thankyou for using your voice and
(28:52):
using your artistry for good tohelp continue the energy, the
passion, and the fervor, notletting the movement dissipate
as we've seen so many times.
Unfortunately it can't happenagain.
It can not.
(29:13):
And I am often optimistic aboutthe future because what I have
seen from the youth, this yourgeneration is powerful.
You and your generation areboldly staring in the eye
racism.
Exactly.
And saying no more, no more.
(29:36):
And we're ready.
We're ready.
So I have faith.
I have faith.
And we stand with you.
And I, you know, honestly, whatdid you know, what a powerful
debut, you know, I know you'vebeen in the business and you
have, it's just such an likeyour journey is, is just really
(29:58):
beginning on the main stage andwhat a powerful debut, eight
minutes and 46 seconds is foryou.
Speaker 3 (30:07):
Yeah.
I'm humbled.
I'm humbled.
I am, I know the type of, um,position I'm being put in and I
know what type of shoes I needto fill.
And I feel like I can do it.
And I feel like with being ableto lean back and rely and trust
(30:33):
and have that push from Madelinefrom white class, have that
wisdom from different peoplethat I've met in the industry.
I, um, my breath is taken.
Like, I'm very grateful.
I'm very grateful.
Speaker 2 (30:52):
I adore you.
I'm your number one fan.
I starting the fan club.
I mean, you you're giving mechills, honestly.
You're, you're magnificent.
And I, Oh, I can't wait to hearmore and more and more from you.
Um, you are with the mostdynamic team and I'm so happy
(31:14):
that you're putting your trustin Madeline and heads music,
because they are simply the bestand Madeline's simply the best.
So, Oh, I have to take a momentto drink, drink some water that
I don't have.
You just feel, you know, yourenergy through my speakers, my
(31:36):
headsets.
It's beautiful.
And I, I'm just humbled andthankful that you are a part of
this new artists series for noneed to ask podcasts.
Um, so what is, you know,Madeline Hannah, what is next?
Speaker 3 (31:53):
We, we really have to work this record, this, this
song, this single, um, butHannah's already created a ton
of music.
That's, what's beautiful.
Um, she's got all kinds offollowup.
There is no question that shecan, um, match this song.
She can talk the song.
(32:14):
Um, her level of versatility isincredible in the music and very
must be very much.
And I was having thisconversation with Y cleft the
other day.
Um, and I was telling him that Ihad purposely listened to, um,
Liz O's album beginning to endlike 10 times while I was
cooking a couple of weeks ago,because the versatility of the
(32:38):
album, the fearlessness of likemixing all those genres on one
album is exactly what thecombination is of Hannah's
music, the music that, you know,she's accumulated over the last
few years, uh, it reminds me ofLiz's album.
It's, it's, there's a couple ofdifferent genres.
There's, um, stuff that soundslike jazz there's wagon.
(33:04):
Um, there's like scat music.
It's, it's this beautiful likecombination though everything
that is her, there's nothingthat is separate of her style or
her personality though, eventhough different genres.
Um, and that's the only thingthat I can compare it to right
(33:25):
now that I like I love deeply isdeliberate album.
So what's next for us is to, todo right by this single and
prepare the next and the nextand the next
Speaker 2 (33:37):
Love it.
Yeah.
I mean, I'm, I'm here for thejourney.
Count me.
I'm here for the ride, you know,number one fan over here.
So before we close thisincredible conversation, um, I
always do two questions.
Um, for both of you, one iscalled trading places.
(33:59):
So if you could trade placeswith anyone living or anyone
that's passed on, who would thatperson be and why
Speaker 3 (34:11):
I would trade places, Whitney Houston.
Speaker 2 (34:15):
Okay.
Speaker 3 (34:17):
I would want to know what it's like to have that.
Speaker 2 (34:22):
Wow.
Wow.
Wow.
Speaker 3 (34:23):
I know what it's like to recognize that voice and
before anybody else does, youknow, um, but I would love to,
to have that voice, I would loveto know what it's like to, to
just stop time when you justsing.
Literally one note.
(34:44):
I mean,
Speaker 2 (34:46):
That's such a good one.
Um, Hannah.
Okay.
Okay.
Okay.
I, you for one day.
Yeah, just for one day.
All right.
I'll be Beyonce.
Okay.
Only because I want to know whatI'd like to be beyond saying,
but I would also like to knowwhat it takes to be Beyonce.
(35:07):
You know what I mean?
That's a good, that's a goodpoint of view.
It is heavy.
Yeah.
That's what I want to know.
All the details of what it takesthe trade secrets.
Yes.
I love your answers.
Both of you go good.
Um, what are you reading?
Speaker 3 (35:27):
Ha what am I rereading?
Speaker 2 (35:28):
Yeah, exactly.
Yeah.
Speaker 3 (35:34):
I read Assata when I was in my early twenties.
It was, you know, we allprobably read a couple of books
that are true, uh, life changersand, and, um, attitude shifters,
you know, and when I read it,when I was in my twenties, it
(35:55):
just made me feel like I wasinvincible.
There was nothing I couldn't do.
There was, I mean, the thingsthat she survived, how tough she
is was is, um, I just, she, shejust made me proud and, and, and
(36:18):
just made me feel, yeah, like I,like I could take on the world.
So, so I'm really at again,because I went through a tiny
little moment of when I made thesport of imposter syndrome where
you, you, the big thing happensand you're like, am I really
(36:39):
good enough for this?
Right.
Um, so I pulled her out.
I ordered a new copy the way.
Yeah, it's a good one.
Speaker 4 (36:53):
That's a good one.
Thank you, Madeline, for sharingHannah, what page Turner are you
, uh, currently invested in?
Speaker 3 (37:01):
So I haven't started it because it's not time yet my
creative clock, but I'm intransition and I'm about to
start this book called theartist's way.
Okay.
And yes.
So, um, it was, it was suggestedto me, and I know that it talks
about, you know, just divingdeeper on why you create, where
(37:26):
it comes from and who you'regiving it to, you know, and the
power that you possess in yourcreativity.
Um, so I'm always diving deeperinto really what I want people
to feel, what I want people torealize about themselves in
artistry and creativity and intheir general lives.
(37:47):
And, um, so this is what I'mabout to be starting.
I love participating.
You should get that one.
It's, it's like a workbook.
I, I D I did it a long, long,long time ago.
And for you, um, needing to getback to getting that book
finished, the artist's way couldbe, yeah.
(38:08):
And you have us on this podcastright now.
I believe that to be true.
It's actually really, um, youknow, it's like a guided, you
know, therapy session, really,because in this section, it's
like, um, it's like complete thesentence.
People with money are blank.
Money makes people blink, youknow, so you have to fill that
(38:30):
in and it really gets your mindticking to where you are as a
creative, Oh, I need this.
Speaker 2 (38:38):
So friends as always, I will list out these two books
in the body of the podcastdescription.
And I encourage you to, if youhave not read either, please go
to Amazon and order your copytoday.
I know I will.
Hannah Madeline.
(38:58):
I mean, from the bottom of myheart, thank you for
participating and just forsharing.
And I've learned so much, I'msure the listeners have learned
so much as well.
Um, it's just, it thrills me tohave two dynamic women leaders
in their own way, um, on thepodcast and to be able to help
(39:20):
amplify the stories that I feelneed to be heard.
So thank you both again, andthank you so much.
My extreme pleasure.
So friends, and this is the endof no need to ask podcasts with
Madeline Nelson and Hannah Eggen.
I got it.
Right.
(39:41):
So until next time, please bewell and be safe.
Thank you.
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