#130 - E+RO=3 aka Erozilla (Part 2)

“Be a homie & let us know what you think”

Step into the evolving world of Erozilla, the multifaceted beat maker whose journey has transformed from crafting innovative sounds to building a legacy through education. Two years after his first appearance on the Wreck Show, Erozilla returns with exciting news about his Erozilla Beat Academy—a groundbreaking initiative teaching digital music production across Los Angeles communities.

The conversation takes us through Erozilla's impressive creative expansion since our last meeting. From rocking stages at X-Fest and Rhymefest LA to curating Lo-Fi Dena (a hardware-only open mic for beat makers), his commitment to live performance shines through. With over 500 unique live sets under his belt, Erozilla proudly shares that he's "never played two of the same beat shows ever," highlighting his dedication to authentic, in-the-moment creativity.

Beyond performance, Erozilla dives deep into his production philosophy, challenging the notion that expensive equipment equals better music. "My DAW is my brain," he explains, demonstrating how he can transform a single kick drum into an entire beat through creative manipulation. This resourcefulness defines his approach to teaching the next generation, providing them with free software and sound packs while emphasizing the importance of understanding musical roots before AI completely transforms the landscape.

The episode also explores Erozilla's prolific catalog, including his conceptual project "Beat Pimping" and his latest release "Frigid," both available on Bandcamp. He shares candid thoughts about streaming platforms, questioning the reliability of metrics and fair compensation in the digital age—a perspective that explains his preference for Bandcamp and physical media.

Perhaps most moving is Erozilla's discussion of the recent Altadena fires, which devastated a historically significant Black artistic community. His connection to this area through his children's school and his work at Trade School reveals the personal impact of this tragedy, while offering ways listeners can support rebuilding efforts.

Ready to experience Erozilla's unique musical universe and perhaps become part of his educational movement? This episode offers a perfect entry point into the world of a true beat innovator who's not just making music but creating community, preserving tradition, and building a legacy that will shape the future of beat making.

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Episode Transcript

Speaker 1 (00:01):
What is that sound, you ask?

Speaker 2 (00:11):
Welcome to the Wreck Show podcast, a show dedicated
to beatmakers around the world.

Speaker 1 (00:32):
Kick back, relax with the Maven Podcast.

Speaker 2 (00:56):
hey here we go.

Speaker 1 (00:56):
Okay, no matter how you know, here's here's how I
want to come in, man.
I just want to come in like amidwest.
Oh, it gets cold.
I'm talking about cold.
Make a change, what is this,ain't Johnny?

Speaker 2 (01:06):
Carson, the wind be waiting on your ass around the
corner like this.

Speaker 1 (01:38):
Here it comes, Yo bro Bro.

Speaker 2 (01:46):
Yo, these change-ups bro.

Speaker 1 (01:48):
No, let me get into this introduction, man, I just
wanted to go get an internetsomething.
You're different, man, becauselisten, okay, listen everybody.
Welcome back to the retropodcast man.
Today we're running it backwith a returning guest.
You already know him as a dopemusic producer, live performer,
content creator, educator.

(02:09):
He's like a live event curator.
I mean no, husband, father, Imean what else you want to throw
at a man like he carrying it,man?
So you know, I did an interviewwith him two years ago, in 2024
, man, if y'all haven't listenedto that episode, go all the way

(02:29):
back and check it out in ourarchives.
Man.
But we sat down, chopped it upand then since then, you know,
life has been happening.
He's still been creating.
He's still live performing atmultiple different shows.
He's still curating, like.
I see him on instagram with hisyou know, I mean his family man
, they vibing in the live eventatmosphere.

(02:52):
Man, beautiful to see, um, he'sjust been on a serious grind
man.
And then this year alone hedropped an album uh, beat
pimping.
If y'all haven't heard, likebruh, y'all need to go check out
Beat Pimpin'.
And then he got a latestproject called Frigid.
Both of these are on Bandcampand you can find Frigid on all

(03:14):
your streaming platforms andstuff like that.
But go support it on Bandcampfirst, man.
But yo, this episode is allabout part two.
You know, like seeing thegrowth, the evolution, new
directions with california's ownero zilla, aka ero three.
I'm gonna let him yeah I'm gonnalet him say his you know his

(03:36):
moniker man, because you know Ican say it but it sounds so dope
coming from you, man, but let'sget into it with erozilla man.

Speaker 2 (03:44):
Welcome back to the show, man hey, hey, thanks for
having me man.
Yeah, I appreciate the.
The introduction that was, uh,that was very, very um regal, if
you will, if you um.
My name is zero three um.
If you've seen it beforewritten, it's written out as e
with the plus sign ro equalsthree, um, which is the you know

(04:05):
, real acronym of my real name,eddie ross iii um, also known as
erozilla, because if you thinkhe's ill hero.

Speaker 1 (04:12):
Hero is ill that's right.

Speaker 2 (04:16):
So, yeah, you know I'm uh, um, you know I'm uh, I'm
just a creative.
You know what I mean.
I create music, I createvisuals.
I'm like, uh, like he wassaying, I teach, I uh curate
live events.
Um, I'm an organizer, I'm acommunity activist.
You know, I do um freechildren's programs every single

(04:37):
week in le mur park, uh, andI've been kind of living
juggling all of these differentuh crafts, for you know, know,
been a part of five, ten yearsnow, per se, been making music,
though for, uh, almost I'd say30 years now, um and um.
I have a lot of projects thatare tending to drop.
Some of them are on all digitalstreaming, some of them are

(04:57):
just exclusively on the bandcamp, um, the latest project is
called beat pimping and um, it's, of course it's a, a quadruple
entendre with the name um,because I think people catch the
name as pimping.
They kind of think of the clownaspect of it, if you will per
se.
But it's really telling a, ahistory, um, I'm not so told, or

(05:20):
not so clearly told, historyabout, I'd say, black America
coming from the 60s into the 70s, into the 80s, and the music
itself is kind of like a journeyfrom the sort of explaining
what it is or the philosophy ofit all the way to the character
kind of redeeming himself at thevery, very end, and it's told

(05:43):
through different um, uh, blackexploitation, um, sound bites
that I have dipped through thewhole album, if you will kind of
tone.
So that's called be pimping.
That's on all digital platforms.
Uh, the the latest project isjust a single.
It's called frigid.
I made it about a year or soago in the winter time.
The time is really, really cold.
Of course it's not so cold now,um, but it was, uh, I'd heard

(06:07):
this, the, um, the stand-up thatuh, richard prower had did live
on sunset strip and I just tooka little piece out of there
where he was talking about goingback to chicago and how cold it
was coming out of the, theairport, and I just threw that
into the kind of song and theactual track is, uh, it's a flip
of, uh, the hop by by TribeCalled Quest on the I believe

(06:29):
that's Midnight Marauders albumthat was produced by Lars
Professor.
So check all that out.
It's on our streaming platform.
So that's what's up with me.
You know what I'm saying andI'm glad to be back on the show.
The last podcast was great.
You know we did it during covidtime so it was like kind of, uh
, the world was a lot differentback then, but you know.

Speaker 1 (06:50):
So here we are now yeah, man, yo, yo, you, you
still doing so much.
Man like it's great to see that.
You know you doing all of thesedifferent things, I'm always
tapped in you.
You know, if I was, if I, ifthey had a, a music community
like y'all have in Leimert Parkand your surrounding areas here,

(07:12):
man like I would be there everyweekend.
Man, like it's it's amazing tosee just the different acts and
you performing up there andvibing and stuff like that.
But yo, um, I want to say thankyou for the opportunity to you
know, to chop it up with youagain, man, it's, it's my honor,
man you, you a legend in thisgame, man.

(07:33):
So, uh, you know, I'm just, I'mjust, I'm just a sponge man.
I'm a sponge soaking up all theknowledge that you have and the
inspiration and everything likethat man.
So, thank you, thank theinspiration and everything like
that, man.

Speaker 2 (07:46):
So thank you, thank you again, man.
Hey, man, I appreciate yousaying that, I really do.
You know, and you know you, you, you know nobody take you
lightly.
As well, in the beats, you'vedropped some nice little
projects as well.
Your last one's very nice, youknow we'll.
We'll chat about that a littlebit before we're done as well.
Yes, sir, you know, um,sometimes, when we are, you know
, we're um music creators, Iwould say new millennial style
creators, if you will, becauseit's kind of based on digital

(08:08):
stuff, digital softwares, andit's just based on technology,
if you will.
I find myself in a very uniqueposition in the sense that I
come from.
I learn how to make music andperform music in a very, I would
say, hostile music environment,like a like Project Blow style

(08:33):
beats, where we weren't justplaying beats in front of each
other, we were always competing.
So at any moment, like if theydidn't like what you were
playing, they would boo you,like literally.
So it was like I kind oflearned how to have a
showmanship from it, if you will.
And so when I'm performing mymusic, you know, I think that

(08:54):
that kind of is self-explanatorywhen you see it.
But yeah, I got a lot of thingsI want to talk about, so I want
to let you go ahead and startoff with what things are on your
mind.
I got you.
I got a lot of things I want totalk about, so I want to let
you go ahead and start off withthe things that's on your mind.

Speaker 1 (09:07):
I got you, I got you, man.
Okay, since our lastconversation, man, you know
what's been the biggest shift inyour creative process, man.

Speaker 2 (09:25):
I would say, let me see the biggest shift.
Well, okay, I'm trying to.
I'm I'm recalling our last, ourlast episode of stuff we were
talking about.
I've I've went through a coupleof different what I would
consider trainings, if you will.

(09:46):
I've done a couple of festivals, if you will Like.
Last year I rocked the firstannual X Fest music festivals up
in Nevada City, California,about a half hour outside of
Sacramento, california, about aabout a half hour outside of

(10:08):
that Sacramento, and it wasprimarily, I would say, rock
based type of festival.
However, one of my you knowgood brethren curated the.
Yeah, they gave him the greenlight to curate his own stage,
so he did a lo-fi stage and sohe brought me and a couple of
beat makers from from LA upthere.
Kershawn Adan was with me Also,not your Head was with me as
well.

Speaker 1 (10:28):
Nice.

Speaker 2 (10:29):
And they gave us what I would consider a royal
treatment for, considering wewere coming from out of town,
paid us nicely, gave us all theamenities we needed.
It was a different experience.
You know what I mean.
It was a different experience,you know what I mean.
We even had, like they had ashow later that night, like an
after show, where they had thelocals playing and the local DJs

(10:51):
were playing and the dancefloors were packed and these
weren't young folks per se,these were like 40s and 50s out
there doing their thing.
So it was kind of a interestingtown because, you know, it was
just a very, very uniqueexperience because of you know
the geographic location andwhere it's at.
So also earlier this year I didthe well, just actually just a

(11:16):
few weeks ago, I did RhymefestLA 2025.
2025.
Now, for those of you who arenot familiar with Rhymefest LA,
I would consider it like theRock, the Bells for LA.
For the hardcore 90s 2000s likeunderground hip-hop head.
So it featured literally overhundreds of acts.

(11:36):
Ghostface and Ray Kron were thetop villain.
Mervz from Living Letters hasput it together over the past 10
years plus, or whatnot.
Anyway, this year they had aBeats and Break stage for the
Beatmakers.
It was about 30 of us.
That was curated by my man, mcRandom.

(11:56):
Shout out, random, shout out.
Beatsync.
I was part of the first wave oflive Beatmakers to play at
Rhymefest, which I'm sure yearafter year is going to get
really, really big.
It was over 10,000 people thereat the LA Coliseum.
So I would say I've sharpened upmy penmanship, or my

(12:17):
showmanship, if you will a lotin doing live beats.
Another thing I have starteddoing and I'm diving into
wholeheartedly is teaching.
It's teaching beat making, orwhat we call digital music
production, and so I've curatedboth a six week course and a two

(12:38):
week course that I've pilotedat a couple of different art
centers here in LA area.
That were successful.
And so now, um, I have anentity, uh, that I'm calling the
Eero Beat Academy, andbasically it's I'm teaching
introduction courses as well asa performance based course, um,

(13:00):
at three different locations inLos Angeles Chaos Network in
Leroy Park, juju Social Club inWest Jefferson and Trade School
in Altadena.
That's starting in October,going into the fall and then
hopefully starting back inJanuary, and it will go on the
side of the regular school times, regular school school times.

(13:31):
I've also curated a third beatbased event called lo-fi Dena,
and it's based in Altadena,california, which, of course,
we're gonna have a word aboutthat regarding the fires and
what's going on afterwards, andit's basically a what I consider
a hardware only openox for beatmakers like myself.
So when I say hardware only, Idon't mean, like you have to

(13:51):
come with beat machines only.
It's just, I don't.
I don't want people to comelike let me play this off my
phone or something like that.
Like this is kind of like aperformance type of training
thing and I've done about fourof them so far and I've been
magnificent, so it's calledLo-Fi Dina.
It's basically what I startedSoul Clap a couple of years ago,

(14:14):
what it would have manifestedinto, so to speak.
You remember when I did SoulClap as well.

Speaker 1 (14:21):
Absolutely.

Speaker 2 (14:22):
I ran into some issues regarding the name,
whatever.
That's why I kind of had topivot, if you will, but that's a
long, that's a long story.
So, yeah, I got those.
Um, I got the classes startingand um, yeah, I'm doing next
fest again in nevada city in uh,october 3rd.
Um, you know, shout out b-boysupreme and uh, kvmx, kvmrx and

(14:46):
nevada city for putting thattogether so shout out to them
man, wow, wow, well, okay.

Speaker 1 (14:54):
So, since we're talking about the um, you know
the beat academy, what is itthat?
First of all, congratulations,yo, because that's a.
That's a big deal.
I don't know if the internet'sreally understand what it takes
to get a, a class uh, through.
I guess.
I guess it's through.

(15:15):
We call it in texas, we callthem isds, uh, isds.
But like the department ofeducation type of situations,
like it takes a lot of work.
You got to go to a lot ofmeetings.
Probably you got to, you know,talk to so many different people
.
You got to have, hey, how muchis it going to cost for funding?
Where are you going to do withthat?

(15:36):
Is it safe?
Is it secure?
Who's allowed to come?
You know all these differenttype of uh scenarios, but I
wanted to ask you, man, likewhat is it that you want that
you hope your students are goingto take away from your uh?
Your arrow?

Speaker 2 (15:50):
beat academy man well , um, you know, the first thing
is that I appreciate the, thestudents and their families,
their parents or whoever it is,uh, have enough faith in me to
you to have their, their lovedone in the space to even do this
.
So that's like off top.
I'm very, very grateful forthat.
It's basically.

(16:12):
I'm not.
I don't say, I'm not promisinganything, so I'm not saying I'm
going to make you a star andyou're not going to be the next,
you know, dr Dre or whatnot.
I'm just, I'm just sharingbasic tools that I know that
people can use, regardless ofwhat type of DAW or what type of
hardware you use.
And it's just more or less likehow to put together a drum beat

(16:33):
type of thing, how to make yourown loops, how to formulate
your own bass lines, how to addin vocal samples, if you can,
something like that.
So each course is designed wherewe're focused on one area and
then at the end of the course weput it together and have a
showcase type of thing.

(16:54):
The benefits of it is I'm goingto give you a free digital audio
workstation, your free DAW.
So I have licenses to offer acouple of different free ones If
you have your own DA, you know,dolls, your own hardware,
whatever, of course you know,bring that, as long as you can
download.
The sample pack, which is thesecond part that I give the
students, is a free personalizedE-Rozilla sound pack.

(17:17):
So it's kind of like the giftin the course because, of course
, after the course is done andover, you can do whatever you
want with that, with thosesounds, because, of course,
after the course is done andover, you can do whatever you
want with that, with thosesounds.
So, yeah, the idea honestly isI'm trying to reach the people
who are who are going to do thisbecause of the technology in

(17:38):
the future and I believe thatdigital music production will be
a very big industry in itselfthat will be eventually be
monetized somehow some way.
I feel like I want to get tothose people before AI and
before non-natural ways of doingit, take it completely over.

(18:01):
You know what I mean Completelyover.
The thing about AI is, I thinkwe're tapping deeper into it,
but the thing about it, it'sbeen with us for a long time and
we've used it in different ways.
We just didn't consider thatand I think people like myself
who've been making music for awhile, we know how to use it to

(18:22):
enhance the art, if you will,but we understand that it itself
is not the art and what we dois based around that.
And I think that that can beeasily, easily confused by you
know, the new generation,because they're kind of born
into this.
It's our job, you know, fromthe analog world, to show the

(18:43):
new students of music that thereis, there is roots to where
these sounds and stuff come fromand abilities, and you know
they need to be.
You know, understand it, youknow what I'm saying and respect
it, because you will be thatmuch more effective as a creator
if you understand that.
So that's, that's pretty muchit.

(19:04):
I feel like you know I've me asan artist and as a beat maker.
My goals initially were verymodest, you know, I was just a
MySpace producer or whatnot.
So I, you know making music andpeople on the other side of the
world.
That was big to me.
You know what I'm saying.

(19:25):
I've never had dreams of, likeyou know, touring the world and
field stadiums or whatever.
Hopefully you know that maycome eventually, but uh.
So I'm saying that to say, likeyou know, my aspirations as an
artist.
I pretty much accomplished awhole lot of them in a modest
way.
So now it's time for me to kindof show and teach what I know,

(19:49):
uh, to these, to these up andcoming artists, and they can
take that and put it in theirbag and and go forth.
Art is going to, it's going to,um, it's going to reshape the
world that we're in through art,audio art, visual art, whatnot.
So, yeah, Awesome man.

Speaker 1 (20:09):
Yeah, I want to.
I want to ask, like okay is, isthere a like an age restriction
?
Is it in person or, you know,is it online or what?

Speaker 2 (20:19):
is it?
Well um, it is, it is in person,so this is exclusively right
now for folks in the Los Angelesarea.
I have taught students as youngas 6, as old as 65, and what I
found is that it's best when Igroup them amongst certain ages.

(20:43):
This go around is more or lessfor students 12 and above.
I'm doing a separate course foryounger kids and I'm kind of
designing that which is moreFoley-based, you know, like more
natural sounds-based, versusmore electronic, because you

(21:04):
know you do have to have sometype of you know, laptop or
something like that.
Just, you know, download thedolls and download the samples
and stuff like that.
So you know, um, you knowyounger children may not be, you
know, up to par on that percent.
So, yeah, they're um.
And then I've found that peopleover a certain age, you know
who's kind of coming back tomusic making.

(21:27):
In a certain way they gel a loteasier with the younger kids.
I would say the young adultskind of are in a class of their
own, if that kind of makes sense.
So but you know, I've again, Idon't have any restrictions, so
you can have, I can have the sixyear old sitting right next to
the 66 year old in the classwith everybody else in the

(21:49):
middle and the thing about is, Idon't it's, I prefer the
classes to be as intimate aspossible, so there is more or
less designed for five to 10students at a time per se.
It's not like I'm not doing anylike one-on-ones or something
like that.
It's not like it's offered asprivate tutoring, which you know
I'll probably get to thatshortly, but you know I just

(22:12):
want it to be in a comfortableenvironment and those locations
that I'm doing in man are very,very comfortable.

Speaker 1 (22:17):
So yeah, Gotcha.
Man that's you know this soundsawesome.
I feel like this is just astepping stone to something even
bigger.
Do you see this Beat Academyrecurring into the different Los

(22:38):
Angeles schools and into alarger movement?

Speaker 2 (22:43):
Is that the vision?
Schools and into a largermovement.
Is that the vision?
I do um, I call it the beatacademy because ultimately I
want to have a campus.
I want to have a school, aliteral school like school of
x-men, the school for the gifted.
Um, you know, um, oh, you'regoing professor x on them.
I mean in in a sense.
So it's.
I'm kind of doing it on a smallscale.

(23:04):
It's just at different,different locations per se and
I'm doing pop ups, like when Isay pop ups, like, you know I'm
going to different events,festivals or whatnot, I'll have
my tent and I have businesscards for each one.
You can sign up for each one.
Hopefully, I'll have my merchfor my own.
You know my personal art aswell.
So I'm doing these to signpeople up for the classes.

(23:28):
So, depending on where I'm at,you know, if I'm doing one that
is that's close to this location, then you know that's where I'm
going to.
You know, channel the signupsfor and I'll do one at a
different location.
So when I'm not doing theclasses themselves, I'll be out
prospecting students and stufffor the classes per se.
If I'm not performing orwhatnot.

(23:50):
It's in a strange way.
All of it together is afull-time thing.
And yeah, you know again, andlet's be clear, you know beat
making and digital musicproduction is traditionally
something not taught in schoolsper se.
So what I did was I got theidea that I can market it to

(24:17):
schools and to institutions likea regular class.
Regular class.
I didn't go to school for it orhave any degrees or anything
for this per se, but I feel likeI'm credentialed to do it.
You know, and the way that Ipresented it, almost everyone
was super excited to hear it,like we've never had anything

(24:38):
like this before.
Like, yeah, this is, it's notbeen done like this before per
se.
So in a sense, I'm kind ofbullying schools to let me do
this, in a sense Like, all right, you, it sounds crazy with
everybody.
You don't want to be the schoolto pass on this and then you'll
see five, 10 years when theacademy is up anyway.
So, yeah, a lot of it iswishful thinking, but I've

(25:00):
learned in life that wishfulthinking, once you've manifest,
once you've put it out there andshared those ideas with certain
entities and folks, it's, it'sgotten in motion to happen per
se.

Speaker 1 (25:13):
So awesome man.
Hey yo, this is Professor X I'mtalking to right now.
Man, come on.

Speaker 2 (25:21):
And feel free, you guys.
You know you can support theacademy, you can support my art,
you can support anything I'mdoing.
Um, all of the different appsare under sold clap la.
Of course I'll give all theinformation out towards the end
of it, but yeah you know this is.
It's a worthy cause of what it'sdoing.
Everything will be taxdeductible that you give to the
academy and working on that allright now per se, but I feel

(25:46):
like it'll be up.
Like you know, legitimately andeverything you know, I'm
working on a five-year plan toput everything together per se.

Speaker 1 (25:57):
So yeah, wow, yes, okay, listen, internet, go
support E-Rozilla man, supporthim on Bandcamp.
He's got a payment thing on hislink tree as well, man, where
you can donate as well, man,anything, I mean he's giving it
back to the community, man.

Speaker 2 (26:15):
I mean like, come on, man, it's a win-win on my, on
my link tree, if you guys, um,you can get this at erozilla, on
most sites or just googleerozillaozilla, e-r-o-z-i-l-l-a.
I have a Ko-Fi site, ko-fi sitewhere you can do one-time
donations.
You can do monthlysubscriptions of any amount.
I got a couple people doing adollar a month or something like

(26:37):
that kind of just.
Hey, you know, I know it's nota lot, but it is important.
I'm like I appreciate that thatyou know anything helps.
I got a lot of music, as youknow, has come out since the
last podcast we did.
I'm going to run through just acouple of them and we'll talk
about the ones you want to.
So I think the last one I didwas the Moving Tree.

(27:01):
I know we have talked aboutsincerely Eddie, beat bully,
demolition, man, sound bending.
Since then, I've released theIntergalactic adventures of
super hero.
I've released mind, body andsoul.
I've released superheroes.
I've released the Eros illasubtitle project.

(27:23):
I've released a couple ofSincerely Eddie projects which
are my back-in-the-day flippedprojects.
They're all exclusively onBandcamp.
I have five volumes of it andthose will trip you out, no
matter how old you are.
I've released Beat Bully 2 aswell.
I've done a ballads albumSincerely Eddie.

(27:44):
So I have R&B flips from the80s and 90.
I've released Bowtie as well.
I have one called SincerelyEddie Goat Flips.
So, like this greatest songs,growing up flips, beat pimping,
frigid and my next two projectsbefore the end of the year,
hopefully one of them that I'vebeen working on for a long time.

(28:07):
I call it the One man Band.
It's a double album andhopefully I can get it pressed
on vinyl.
I'm looking at that no date onthat yet and I have a
compilation album, a compilationof lyricist and singers, uh,
entitled voices of fire, andthat will be out, hopefully by
october, november as well, andthat one's I'm not going to name

(28:29):
the names on there, but thatone's going to be super duper
crazy.
I feel like this is my firsttime doing a project as a, as a
what we would call a standardindustry music producer, where
I'm producing music forvocalists, um, engineering and
doing the everything on it onthat, not just me playing my

(28:52):
beats, whatnot, um, so, yeah,why do you release so much music
, bro?
These are just beats.
You know like.
These aren't like fully studio.
Get this cure.
You know this clear and allthis and touch temporary, but
I'm just.
This is beats.
I'm making my bed literally.

Speaker 1 (29:09):
I just put together and send him out come on, you
know, most beat makers, mostbeat makers understand it.

Speaker 2 (29:16):
They know they don't have to.
But it's like a lot of peoplewho are a lot like do you put a
lot of music?
I'm like, well, I make a lot ofmusic first off, and you know,
I was in a situation where Ithought that I would not be able
to put out any more music atsome point.
So I'm like, why not?
um, so anyway, that's kind oflike the way I think about it.
Also, I wanted to touch on thisas well.

(29:38):
I don't know if you caught this.
This is about a month or so ago, almost two months ago, but I
was a part of the Serato AudioEffects Series which was done by
TechLimert and sponsored byUndefeated Clothing.
It was in Inglewood.
It was about almost two monthsago and it was a three-day
weekend of.

(29:59):
It was over 80 differentstudents, student mentors there.
We had speakers there rangingfrom Dane Funk, lena Fornia,
amber from the Moonchild um damefunk, lena fornia, um amber
from um the moon child, um sarahtoo ill, posted by true sound.

(30:22):
Our local um la, and it was.
It was magnificent, bro.
Um, like three full days we werejust all about beats.
They gave us all the freesoftware we needed to make beats
.
At the end we had like a hugesession where everybody was
playing their beats.
We're putting together acompilation right now.
Actually that will be out atthe beginning of 2026.

(30:44):
That's curated by dj battlecat.
Um and these are all theparticipants from the actual
classes is going to besubmitting piece in it.
So, um, I have a whole lot ofmy stories.
The highlight to have a whole,a whole thing about that.
It was.
It was incredible.
That was the most incredible,incredible creative time I had

(31:06):
with other like-minded artists.
Um, the closest thing I cancompare to it was like this was
when, um, um J Cole did thedreamville projects.
We just had everybody locked upin his crib studio.

Speaker 1 (31:21):
Yeah, yeah, I remember that.

Speaker 2 (31:22):
This was the closest thing to it.
Like we have breakout rooms,every breakout rooms.
Everybody is just locked inflipping stuff.
It was, it was amazing.
So a lot of stuff's going tocome out of that.
That you know as well.
Again, shout out to Tecla Mert,you know.
Shout out to Serato.
Shout out to Serato Studio.
It was great, you know.

(31:44):
So, yeah, I've been veryfortunate this year, as a
creative, to be a part of a lotof different things like this,
and you, you know that's why Ifeel the need to to share, you
know, what I do and what I knowto the others, who you know, who
seek this, who seek um, justjust have create, create

(32:06):
creativity inside of them.
You know, and that's the bestway we can navigate what's going
on outside, outside thecreative world is, is to stay
connected in it, and thecreative world it's, it's.
You know, it's deeper than justyou know people.
You know, like it's a, it's avibration that we share.

(32:28):
You know that we can relate to,even if we've never met or even
know them.
You know, I'm saying um, it'ssound and sound is sound, is um,
it's uncontained man um, yo,you're definitely doing an
amazing job of documenting,documenting your, your journey.

Speaker 1 (32:51):
Um, I think that was one of the questions I had in
here, so you already took careof that one.
But yeah, I just wanted to findout, like, what it was like to
lock in with.
You know, serato and that manycreative beings man.

Speaker 2 (33:05):
Like yeah, but yeah, man, Wow, Wow.
It was great because you knowwe, you know we ate together.
You know they gave us somegreat meals.
You know we were, know we, weate together.
You know they gave us somegreat meals, you know we were,
we did a whole lot together.

(33:25):
That that that you know.
I guess before the internet itwas kind of like taboo to share
your creative processes with theother creators.
Let alone with the world per se,but I think the the way that
we're trying to do it now, it'slike sharing, it's fun.
In fact, I was against sharingthe process for a long time,
like, really, I thought, youknow, in my mind it was kind of
like, you know, giving away themagic, if you will, per se.
But looking at it now in a moremature light, you know, I feel

(33:50):
like it's only can help outyourself and others who do what
you do.
I don't worry about people likeyou know, biting my ideas or
sounds or anything like that.
I really really don't be honest.
Um, it used to be a thing, uh,you know about it, but I'm like,
I just feel like I'm inspiring,um, and you know, or I'm being

(34:11):
inspired by, you know, because Ican use anything for sound,
like literally anything.
It is not limited to anything.
That's why I love being a beatmaker is that my inspiration can
come from anything.
If I don't have anything, anyideas, I'll just go back to

(34:32):
something I did years ago andjust redo it.
Some can be done different.
Um, go to an old song, take thedrums out, put my new drums in
or slow it up or whatever.
Just modify it like that stuffbecomes.
That's that becomes projects.
You know, projects that Irelease are literally just
modified and updated stuff thatI did years ago that nobody

(34:53):
heard.
You know, and that's fun.
You know what I mean.
Um, I I told my man uh t doteyes off, shout out to love
supreme.
By the way, another therapy,yeah as well.
Shout out to them you know I Ihad a mission that I wanted to
remix or flip, like all thesongs from my childhood that
gave me joy, and I've done awhole lot about it and I haven't

(35:17):
released a whole lot of it yet,but it's fun, you know.
You get lost in it, like I'llpull out the you know the earth
winning fire joint and I'mplaying and then before I know
it I'm three hours just justdazing and just in a daze, in a
loop, because I'm thinking aboutthe house party mama pop had
back in 79 and I'm envisioningall the neighbors getting down.

(35:39):
So I'm like you know, I justget lost in nostalgia, whatever.
Oh, I forgot what the hell I'mdoing like stuff like that that
I enjoy doing when I'm makingmusic is.
I get lost a lot of times inthe sound itself and in
nostalgia.
Um, whether I'm using samples,whether I'm playing the music
myself, you know I'm one ofthose guys that I used to have a

(36:01):
preference because I startedoff being a sample bass beat
maker.
But I do both now and it'sinteresting because I'll go
through phases creatively whereall I want to do is just play my
own sounds only and I'll haveprojects that reflect that and
then I'll go through stageswhere I'll get inspired, like I

(36:23):
am right now, to do more diggingand find more different sounds,
to sample and to flip and to,you know, tear apart andructure.
You know, and it's justinteresting being this type of
creative, because I don't knowif there's so many different
ways that you can change up yourdelivery or change up your,

(37:00):
your pitch of the voice or oryour words, or even change up
the words themselves.
You know, it's like I thinkit's kind of, I don't know, I'm
not gonna say it's limited tothat, but I just think that,
excuse me one second, I justthink that same thing with

(37:24):
vocalist singers.
You know, I think that there'sonly so many different ways.
You know, you can do that perse, where what I do I feel like
it's unlimited ways.
You can do that per se, wherewhat I do I feel like it's
unlimited.
I don't even need sounds tomake beats, meaning, I don't

(37:44):
need multiple sounds.
I had a drill that I did withsome students a long time ago
where I just did a kick drum.
I don't know if I told you thisbefore or if I said this last
time this is a kick drum, it's aboom and I said, all right, so
watch this.
I took that one kick.
I copied it like ten times thefirst copy.
I chopped it, narrowed it downand I added a lot of low end to

(38:11):
it.
So now, boom, so I have my kickdrum.
Second one I chopped it down, Inarrowed it up, raised the
pitch up like three or fouroctaves, so now it's bing bing,
chopped it down, so now I havemy snare.
I did all that, etc.
Had my hats and stretched itout, played it in the keyboard
octaves, made a full beat out ofit, just the kick drum.

(38:35):
I'm like you know that's the artthat I do.
You know it's.
I can use all the differentstuff, pay thousands of money.
Yeah, the DAW, the digitalaudio workstation, is my brain.
Like we had said before, wewere talking about gear.
You know which, you know.

(38:55):
You know I don't like to reallytalk about that, but, like my
man, ross G, said, it's not thegears to hear.
Funny thing is, what'sresurfacing now is Mad Libs
interview.
I know you probably recentlysaw it we was talking about yeah
, man, I make all my beats oniPad, like literally like all
those albums you heard, likejust store sounds on iPad and
it's like a lot of cats, youknow, have messed up a lot of

(39:20):
cats, because it's like I know alot of so-called music
producers who have the mostextravagant studios and spend a
lot of money or stuff and stuffand to me the music doesn't
really reflect all that you know.
So to each his own, you knowwhat I mean.

(39:42):
I just feel like the true, Ifeel like music reflects what's
truly inside of you and what'sinside of you you should be able
to bring out.
It don't take much to bring out.
You know, for me I've never hadexpensive equipment.
I've never had a what we wouldconsider studio, a working

(40:04):
state-of-the-art studio or amulti-track studio.
Never, bro.
I've done everything thatyou've heard from me.
Literally my computer dog usedto work on Sony Vegas, I work on
Serato Studio, now SP4 for allthe SPs, just my little
performance-based stuff.
That's really really it.

(40:25):
You know what I mean.
That's all you really need.
It really really is All thedifferent.
I've sampled different soundsover the years.
Came in, brought a keyboard,played this, saved that.
Brought a bass guitar, didthree or four licks on it, saved
that.
You know, done that hundreds oftimes over the years.
So I have an extravagantlibrary of sounds.

(40:46):
You know what I mean it'salmost like.
But the funny part about it isand I guess this is what all
creators have in common is, nomatter how much sounds and how
much stuff you get, you alwaysare hungry for more, and that's
kind of like why we stay digging, because, you know, I just feel
like my best beat is my nextbeat, and I feel that way even

(41:10):
after I make my next beat.
And no matter I say this allthe time no matter what I'm
doing in life, I'm always in themiddle of making a beat.
If you see me out in the street, you see me somewhere, wherever
, like I'm waiting to get backhome to finish this beat, like
always.
You know what I'm saying.
So, yeah, shout out to all mybeat heads worldwide.

(41:31):
You guys kind of understandthat itch.
Yeah, sometimes it goes, butfor the most part it stays.
I don't necessarily need thingsin life anymore to give me
motivation to make music.
I used to.
I used to like honestly, likemusic for me used to come out of
dark places or like when I'mnot particularly doing my best

(41:55):
personally.
You know what I'm sayingIronically, but now it's like,
you know, you can't reallyreally really tell what I'm
going through personally now inmy music, because I have the
message I'm getting across inthe music per se, and it's still
emotional.
You know what I mean per se, uh, and it's bad, it's still

(42:16):
emotional.
You know what I mean I, I, Iplay, I'll make some beats and
I'll play them back and I'll behaving tears because it's taking
me somewhere I don't know where, but it's taking me somewhere
of joy.
You know.
I mean, um, the older you getyou know I'll be I'll be 50 in a
couple of months the older youget.
It's almost like we, we, wedepend more and more on the
nostalgia.
You know I'm saying uh, to keepus happy per se, and, uh, what

(42:40):
better way to bring that upon?

Speaker 1 (42:43):
through sounds, through, you know, um,
eloquently crafted sounds, yes,sir yo man, like that's exactly
what I feel when I listen toyour music, man, like it's like
there used to be this thingabout.

(43:04):
Hey, your music should only belike 45 seconds, 90 seconds a
minute and a half or so.
I'm like bruh, like how can youeven get out a full idea in that
span of a time?
Like the way that you craftyour music?
I feel like you don't put alimit on your time of what it

(43:26):
took you to create this beat,because you have like maybe 10
switch ups in your song.
I'm just I'm listening whileI'm mowing the grass.
I'm like yo, he really justmade like 10 beats in this one
track.
Yeah.

Speaker 2 (43:41):
You're going to get this work.
Yeah.

Speaker 1 (43:44):
Yeah.

Speaker 2 (43:46):
You know, I got that from listening to jazz and
realizing that.
Why do we?
You know, um, we suppress ourcreativity in a sense.
I'm like I have all thesedifferent ideas within the song
that I want to get out.
You know what I'm saying, andI'm arranging them in a way
where it's hard for you to stopor exit it once.

(44:09):
I'm doing these switch ups andit's almost like why would you
want to listen to two minutes ofa song and then switch it when
you know there's another threeor four minutes of it left with
other stuff that, uh, and theswitch-ups that I do, you know
you have to listen to it to toknow what they are or when
they're coming, or somethinglike that, or even if they are

(44:30):
coming, you know per se, so youknow, of course, people who who
follow the you know per se, soyou know, of course, people who
who follow the you know E-Roll,they, they, they envision that,
and a lot of people love themusic just because of that.
Like, I have friends who tellme bro, I'll listen to the first
10, 15 seconds of your song,then I'll immediately go to the

(44:55):
third or fourth.
But yeah, you know, don'tsuppress your creativity.
You know I'm not.
I'm not.
I've never done or created musicfor the purpose of having it on
the radio or having it in theclubs or having it somewhere.
I'm just making music, I closemy eyes, it's out there.
It has a life of its own.
Most of my songs I want to, Iwant to include I'm just making

(45:19):
music, I close my eyes, it's outthere.
It has a life of its own.
You know, most of my songs Iwant to.
I want to include a lot ofdifferent elements to them.
So that's why they're generallylong songs.
You know what I mean.
Is everybody going to listen tothe whole thing?
Maybe not.
I get it, but I think youlisten to as much of it as you
need.
I think you'll listen to asmuch of it as you need.
You know I don't really like alot of people make.
You know the one minute songsand stuff like that.
That's cool, I get it, whatever.

(45:40):
But you know there's onlyyou're not expressing as much as
you probably possibly canwithin the one minute.
Maybe you are, or maybe you,maybe you you feel you are, or
whatnot, but I'm like that'sjust.
Again, my music reflects what'sinside of me.
I got a lot going on inside ofme.
Maybe you know, maybe somepeople don't want to truly share

(46:02):
what's going on inside and thisis on the surface, is all they
want people to, to kind of.
And again, you know this, this,this me to another.
A good point is the music makerthat existed before the uh
pandemic and the music makerthat was created from the
pandemic.

(46:24):
Um, we have a whole bunch ofcontent creators that make beats
.
So they're beat makers per se,but they're not into the art of
performing it like I am.
They're not releasing projectslike I am.
They're just kind of creatingmusic.
They're instagram famous andthat's great.

(46:44):
You know what I mean, but youknow I don't think that you can
compare what I do.
I feel like I am.
I'm an entity in a sense.
So if you see my name on aflyer or if you see me in person
, you kind of know what you'regoing to get.

(47:06):
And that is you don't know whatyou're going to get.
You know what I'm saying.
I've never played two of thesame beat shows ever.
At this point, since I've beendoing live shows literally since
2008, since the Beat CypherCollective, I've probably done
close to, or more than, 500 liveperformances.
Wow, wow, over that time, and Ireally can say I've never done

(47:32):
the same beat set like everagain.
I played, you know, same beatsover many times.
I've never done the same set orhow it's done, and that's kind
of like the opposite of a lot ofpeople who do what I do.
A lot of them have donehundreds of sets and they've
done the same set every singletime or, you know, not varied

(47:56):
from it a lot.
You know what I mean.
Um, once and once I releasemusic, I, I don't perform it
after that it's released.
You know, because if somebody'srecording me and I'm playing my
song and you know it's onyoutube, they can be like oh,
this is copyrighted, really,yeah, it's copyrighted by me,
but why I gotta go through allthat?
Whatever, like I'm, I postedwhatever and you know, as soon

(48:19):
as I posted this ding and it'smuted everywhere and I'm like
this, my though.
So I, I don't, I don't do it, II.
And funny thing is, I do thesame.
I have the same mentality whenit comes to like releasing um or
just posting remixes or flipson instagram or facebook.
I don't do that anymore, dude,because a couple of years ago
when I was doing, I was gettingding every single time.

(48:41):
I don't know if it wasinstagram algorithms, if it was
somebody like you know droppingthe dot, I don't know, but I
remember I would post the flipand within seconds instagram is
taking it down like damn.
And it's crazy because I seeeverybody now is just posting
nothing but like obvious sampleflips and nothing.

(49:01):
I'm OK, it's just when I do it,this is what happens.
So you know, I don't.
It's just weird.
My algorithms have always beenvery weird when it comes to
social media, you're different.
To be honest and this is one ofthe last things I wanted to say
um, I don't believe in socialmedia numbers.
I really really don't.
When it comes to streams andstuff like that, um, because

(49:26):
I've seen it like a lot of itjust doesn't the map, doesn't
math.
You know what I'm saying.
When it comes to like how manypeople, how popular you are, how
many people are viewing whatyou're doing and how many people
are circulating, it like a lotof it just doesn't really add up
.
You know, um, like my numbers,like on spotify, for example.

(49:47):
I know you know a lot of peopledon't really really mess with
spotify anymore.
A lot of artists and a lot ofthem or whatever.
But I'm like, one day it'll sayI have 35 followers, next day
it'll say I have 800 followers,next day to say I have 15, I'm
like.
And it does periodically, likeevery three or four days, it
just changes to something great.

(50:07):
I'm like.
I don't know.
I don't know what to believe.
You know, I have no ideawhatever.
All I know is that I haveliterally over like 300,
something, total thousandstreams.
That's what they're telling me.
Yet I probably made less than50 bucks on Spotify over seven
or eight years, I'm like OK so Imay not have enough.

(50:28):
So it's to the point now whereI'm like OK.
I just, I just don't believe it.
You know what I mean.
Yeah, point now where I'm likeokay, I just I just don't
believe it.
You know what I mean?
Yeah, a lot of cats I see whoare having millions of streams
or something like that.
If that's true, you should, youshould be doing a lot better
financially than what, what Isee.
If that's true, you know whatI'm saying, or are they jerking
you?
You're not getting.

(50:48):
I don't know.
You know I'm saying um, a lotand you know a lot of OGs are
speaking out about this.
Now they're like dude streamingkilled the real street business
of hip-hop as far as movingunits and stuff.
Daz was on live the other day.
He was like I have CDs in myhand.

(51:09):
He's like these are units.
If I sell these, I know howmuch money I'm getting.
He like streams like you haveno idea what it is, you just
don't, or whatnot.
You have to go by what it is,their reports and I don't know.
It's just um.
Whoever made that deal from theartist's perspective?

Speaker 1 (51:29):
I don't, I just don't get it yeah, man, man, there's
been a lot to talk about, andthat's one of the reasons why
you see a lot of the OGs goingback to actual physical vinyl
cassettes, cds and stuff likethat.
Because and not putting likecase in point, man, rhapsody and

(51:52):
Madlib right they came out withan ep, but the ep could only be
heard if you bought the vinylor the cd, right?
So it's not on dsps, it's noton a website where you could
play it.
No, so, like curtis um, I'mtrying to remember his last name
, man, he's a, uh, contentcreator.

(52:12):
He's a dope artist too, fromCali man, he played the album
Curtis King.
There you go.
Yes, so he had the album boom,I think he had permission from
either Mad Lib or Rhapsody, Idon't know.
Either way, the album is dope,but you can only hear it if you

(52:33):
have the vinyl, cd or cassette.
I think that's the way we needto go back to man, to put value
back into the music, man.

Speaker 2 (52:43):
Yeah, I just think that you know, putting music on
the digital platforms I thinkit's good in a sense where you
know you have music out there isgoing to live forever.
I think it's good in a sensewhere you have music out there
that's going to live forever, soit can eventually rotate around
to different ears in due timeor whatnot per se, but looking
at it from a businessperspective, it's a raw deal for

(53:04):
the artist.
I don't care how you look at it, it's a raw deal for the artist
.
Putting music on digital sites,digital streaming and again,
you don't know your real impact.
You don't know who's reallylistening or who's not.
You're going by what I think bynow I mean I shouldn't say this
, but I just think by now AI iscontrolling social media

(53:25):
algorithms.
In a sense, it's learned somuch.
Speaking of AI and you knew wewere going to touch up on this
is the whole Timberland and thewhole storytelling thing.
It's a shame, it really is, butI think that it's just putting

(53:49):
light to what's going to or whathas been happening or what's
probably been happening a longtime.
But what's going to behappening is people are going to
be using AI for not so goodthings.
You know what I mean, includingmoguls and stuff like that.
Did he need to do that tobasically rip the guys off, his

(54:11):
beat off and keep his producertag on there, which is not very
smart, you have to.
He didn't have to do that,whatever.
And it's like okay, he just gotcaught doing this, whatnot, and
and you know, I don't thinkanybody really appreciated the
bullshit excuse or apology orwhatnot, but I'm like, dude,
it's like did you, did you makepony?

(54:31):
Like we're now?
We're questioning your wholecatalog, bro.

Speaker 1 (54:35):
Cootie Fresh, that's his name, that he stole that
beat from man yeah.

Speaker 2 (54:41):
And it's like, you know, like did you?
I don't know, man, it's just,we're just in a time, right now,
where the the rules just don'thave any value in anything right
now, and that's the wild west,yeah we want to, just we want.

(55:02):
Well, this is technology, thisis the pandora's box and I'm
like no, it's, like it's, itdon't have to be that way.
Well, not everybody just want tobe that way, so right, um, um
yeah, that's just unfortunatebecause I was so disappointed
when it all came out andliterally like that's literally
what he did.
I'm like no dude because youknow I consider him.

(55:23):
He was one of the guys whoinspired me back in the day.
Right Like he you know, nobodyfound his catalog but that's
kind of messed up anyway, man.

Speaker 1 (55:38):
So, okay, let me, let's, let's, let's, turn some
fun back into it, man, becausethat was a sad situation.
But let me hit you with these,um, these bonus lightning round
questions that I have, man.
That just started with uhkershawn and don man, episode
number 128, I believe.
Go check thatets, if youhaven't already.
Nausea Head, stop by.
But I'm going to hit you with aquestion, man.

(55:58):
It's just a real quick answer.
I think you'll get a kick outof these too.
So, all right, here we go.
Number one First memory ofperforming live in California.

Speaker 2 (56:11):
First memory of performing live.
I did.
Okay, this was in 2007.
I had in December of 2006,.
I went to Juju Social Club.
They had a white party.
Now, back in the 2000s in LA,juju was the spot for creatives.

(56:37):
That real frohemian flavorstill is, but it was like unsaid
and that that day I went there.
Uh, we were in the green room,which they had a green room in
the back, whatever, and in thegreen room we would always have
the beat makers would come andplay their beats on the boom box
, like like a litter on the CD.

(56:58):
It was DBI see playing beatsback there.
All the rappers would come,would have cyphers.
You take a CD, I'll give my CD,whatever, we would do that a
lot of juju.
So in this particular day I metthis young lady.
She had a clipboard out thereand she was prospecting for a
show.
She was putting togethergetting everybody's information,
name, email, stuff like thatfor the beat makers.

(57:18):
Uh, she called it the beatcypher collective and the idea
was it was going to be an openmic performance for beat makers
project, blow style.
Like you know, you're gonna.
You only have a few minutes tosay what you gotta say.
If they don't like it.
They're gonna tell you pleasepass the mic type of stuff, like
under under pressure kind ofthing.
Um.
So, anyway, darren, I'll tellthe story of how I met my, my,

(57:41):
my current wife.
This is how we met.
I actually wrote a, uh, ascreenplay about it in school,
um.
So anyway, a couple of monthslater, so, anyway, a couple of
months later, she had the firstBeat, cipher, and I missed it
and I don't remember why Imissed it, but I remember a
buddy of mine, demer1, demerfrom RTN.

(58:03):
He told me he was like yo, youmissed the Beat Cipher, dude, it
was dope.
He was like dude's playingbeats like yours, like like the
type of beats you made they wereplaying.
I was like, yeah, because again, before that we didn't have it
wasn't a space for, you know, inthe closet beat makers like
that before that.
And so I went to the very nextone.

(58:23):
I remember I contacted darbyemail, you know.
I was like, hey, I'm sorry, Imissed it, whatnot, and whatever
.
So came to the next one and Isigned my name on the list for
the first as the first performer.
I don't know why I did that, Iwas just excited and so I came.
I played in the back then.
You didn't want to play, youdidn't want to be the first one
in there, but I played a beat.
I remember it was a beat I hadthat actually had a switch up

(58:46):
back then it was really reallylong.
I had some samples from um, itwas a spooky like.
It was like spooky samples orwhatnot, so it was like some
Halloween samples or something Ihad in there, whatever.
And I played it and it switchedup and back then you was going
to Mike, say your name, and theyhad the CDJ, which had a couple

(59:07):
of different effects, like anecho stuff.
So everybody's doing the samething.
We're playing our CD in there.
And I just remember I wasscared First time ever playing
beats, and it switched up andI'm hearing the oohs and ahhs,
whatever, and so stopped it overand I just looked up and folks
are just like looking at me,like stuck, like clapping, like
yeah, I got a, I got a, I wantto standing ovation.

(59:29):
But I got of applause.
So it was like, wow, I'm hereevery month now and so that was
like literally the first time Iplayed beats.
Um, I've never gotten booed orhumiliated or something like
that.
I have gotten.
I have played beats beforewhere I didn't get the, you know
, the feedback or anything thatsounded, uh, of a applause.

(59:52):
I've done, I've been throughthat before or whatnot, but the
Beat Cypher was something else.
So, yeah, that was my firsttime.
It was back in 2007.

Speaker 1 (01:00:01):
Wow, okay.
Next question Favorite venuefrom your live performance
archive, like places that youperformed already, and that's a
long list.
You got over 500 beat sets, ohyeah.

Speaker 2 (01:00:18):
I let me see.
My favorite current place isJuju Social Club.
The love and the energy andvibration there is unmatched and
it's blue-black.
When I say blue-black, it'sblue-black.
I played at let's see, I playedat the coliseum.

(01:00:43):
I've played at burgers andbeats, beach cinema um, organic
beach sessions, um, beachSessions, low-fi Dina Soul Clap.
I played at a lot of theseplaces.
Don't a lot of these physicallocations don't have venues

(01:01:06):
anymore.
The Mountain Bar I played atthe Airliner, where Law and
Theory used to be.
At many times I've played atman, a lot of different places.
The funnest time, like I said,I had when I played at X Fest up

(01:01:29):
in Nevada City last year.
That was.
That was great.
Rhyme Fest at Lake Coliseumthat was spectacular.
I was more of a fan the wholetime.
Like 99% of the time I'm there,I'm just geeking over everybody
in one location.
So, yeah, oh no.
Actually, me and my partnerAbstract Butterfingers shout out

(01:01:55):
Mbella.
We played at a spot out inTemecula, california.
This was back in like 2012,when we were called Slimmy Heart
and when we were doing ourlabel Zypher Unlabeled.
I forgot the name of the show,but me and Mbella had a routine.
We perform as a duo, like wewould play beats, do some live

(01:02:18):
shit and then we would stop, wewould do our polls for like a
certain amount of time and getback into it.
It's kind of ill to watch.
That was a dope show we did outthere.
I played at the LA County Fairin Pomona at the Poetry Fest.
Shout out Judah One for that.
That was earlier this year.
That was dope.
Yeah, I mean, you know you pickone, but again, my favorite

(01:02:44):
place and the most place I feelthe most comfortable performing
is Juju Social Club.
I got you.

Speaker 1 (01:02:51):
Okay, next question what's one plug-in you can't
live without right now?

Speaker 2 (01:02:59):
Right now the one I'm using the most is the Serato
Hex, which they just came outwith an upgrade on it.
I haven't did the upgrade yetbecause I'm just stuck on it
right now.
It has all these differentpresets in it that are just
really, really, really dope.
I've just really starteddabbling in that earlier this
year.
I would say historically, um, Iwould say I'm mostly known

(01:03:27):
amongst my peer beat makers, um,for having, for having a, I
guess, a signature filter, ifyou will.
I use about four different typesof filters, but the main
feature that I work and really,really work is what we call the

(01:03:51):
wah-wah filter.
Most dials have some type ofwah-wah filter, so at some point
you'll hear that in my soundand at some point you'll hear
something in the song reversed.
At some point it's also kind oflike a signature of mine, very
fast.
And of course, you know theswitch-ups, which are basically

(01:04:14):
just second parts of the beat,that you know how most people
would have a riff where they'lljust play it.
What I'll do is I'll cut theriff in half and I'll stretch
out each portion and I'll justtake the second portion of it
and make a total different songor different part of the song.
That's an ego.
That's an ego secret rightthere, by the way.
Part of the song.
That's an ego.
That's an ego secret rightthere, by the way.
So yeah, I would say my filtersdefinitely.

Speaker 1 (01:04:40):
Got you OK.
Next question Go to food aftera late night session.

Speaker 2 (01:04:46):
Go to food after a late night session.
Well, I, I know my way aroundthe kitchen pretty well,
considering I do I won't saymostly cooking.
I do a lot of cooking for afamily of four.
I like in my air fryer.

(01:05:09):
I have a dish that I do that'snot very complicated um, it's
basically um steak with, uh,brussel sprouts and onions, and
basically that's what I use inthe air fryer over rice, um,
with some corn on the cob andsolid nice, nice, nice.

Speaker 1 (01:05:34):
You're keeping it with the good foods, it sounds
describing, but it's not.

Speaker 2 (01:05:40):
I do it a lot.

Speaker 1 (01:05:42):
I like buster sprouts over rice man, Especially saute
.
You cut them in half, put somesalt and pepper.
Man.
It's so good, I'm gettinghungry right now.
Dream collaboration in 2025.
Dream collaboration in 2025.
I think you're already about todo it in October.

Speaker 2 (01:06:06):
Uh, well, that's interesting.
Most of the most of the artiststhat I've collabed with and are
collabing with currently arewest coast based artists.
Um, obviously, you know I'm inla, but it would be interesting
if I did something with aninternational artist, um, and it

(01:06:27):
doesn't necessarily have to behip-hop or rap, um, so I don't
know, I don't have anyone inmind per se, but I've always
kind of, like you know, I wantedto do something like maybe with
a Afro beats artist or um agarage artists or something like
that.
Again, nobody in mind, um, interms of um, like a local talent

(01:06:50):
or a local legend.
A local talent or a locallegend, um, I'd say honestly,
you know some, some guys that Iadmire as a group, um, and they
recently suffered a loss.
Uh is uh living legends, westcoast la, oakland based living
legends.
Um, rest in peace to asap black, asap black wolf just passed

(01:07:16):
away literally the day afterRyan fest, uh, but uh, yeah,
those cats are really, reallydope.
Um, I've met Murs a couple oftimes on occasion and, uh, you
know, we kind of entertained thethought of possibly working
together.
But I think, like he's, he'sprobably like I know that this
album he's doing is, or he'sjust really supposedly his last

(01:07:38):
or his retirement album orsomething like that, which is
always interesting.
When rappers can't retirementor say retirement, right, you
can retire from putting wordstogether and getting paid to say
them in front of people, right?
Yeah, and you know I'm dabblingwith the OG legends here in LA,

(01:08:01):
like I'm forming relationships.
Well, I've had relationshipswith these guys for a long time
but I feel like I'm forming anartistic relationship with a lot
of them.
Now, speaking of our legends,like Freestyle Fellowship Legend
Medusa, I've done work and I'mworking with my man, john Q the

(01:08:21):
wordsmith, who's like one of thedopest off the top dudes you're
ever going to hear in life, myman, mc Random.
I've done work recently with myman Destruct.
I got a project that I'mworking with my man Destruct.
I got a project that I'mworking with my man, alf the
Alien, formerly known as AlphaMC.
Also, I got Mora Q.

(01:08:44):
I have a song I did withMonstro aka Stro1 from West
Coast Creations.
These are all on the Voices ofFire project, by the way.
Yeah, that's going to be comingout in October, november,
around my birthday time.

(01:09:04):
I want to possibly work with thelegend Abstract Rude.
We've actually talked and kindof hinted around it, but he's,
he's always, always working onthe move, whatever.
We got very similar birthdayswe share, um, let's see, you
know.
I would say you know theultimate hit list would be, you

(01:09:24):
know, work with mad lib, um,flying lotus, um, I would say
the alchemist.
But the alchemist is kind oflike.
He's kind of like on some, onsome extra different level and
the rest of the world is underhim, kind of thing right now.
You know what I mean?
Yeah, he's on a crazy run rightnow, especially with the whole

(01:09:46):
Erykah Badu project that they'redoing.
Man.

Speaker 1 (01:09:50):
But so yeah, that's know if that's an extensive list
I know it.

Speaker 2 (01:09:53):
But, um, but slowly but surely, you know I'm
knocking them out and you knowthe the great thing about this.
Oh, and I have a project I'mcoming out with with tech the
super latin soon, aka brothermaz.
That's gonna be crazy.
Um, take the super latin is theson of legendary beatboxer,
click the super latin from la.

(01:10:15):
So do your googles on thosenames and, uh, yeah, appreciate
that.
You see the audio effectsseries six weeks.
Trade school is where I do lo-fidina.
Trade school is in altadena.
That's ran by um, my partnersarden and Casey Anderson, and

(01:10:37):
trade school is exactly what itsounds like a trade and school.
So it's more or less we'redoing art with an educational
twist or foundation under it aswell.
I'll be doing part of my ERObeat academy classes at trade
school as well, and he has awhole bunch of a lot of
different excellent programmingthat goes down there.

(01:10:59):
So make sure you look at that.
Their website isgototradeschoolorg where you can
look up trade school altadenaas well.
Um, and of course, you know Iwanted to touch on, you know,
the whole altadena fires, alongwith the palisades fires.

Speaker 1 (01:11:14):
I yeah, speak on that .
Yeah, how are the efforts goingwith that?

Speaker 2 (01:11:19):
um, what I see, the efforts are starting to to roll
in really good.
Um, it seemed like it was veryslow for the reaction and for,
you know, the initial cleanup,if you will.
But, uh, I live about two milessouth of the immediate burn
areas, so it didn't.
I, my, my place, didn't burn,but my children go to school

(01:11:44):
both go to school and out toDena and so a lot of their peers
and a lot of people at theirschool administration suffered
huge losses.
And so you know the dynamic ofour area has, you know, of
course, forever been beenaffected.
But you know we're doing ourbest to build up the.

(01:12:05):
You know just the spirit ofthis area because you know,
looking at it like drivingthrough it during the daytime,
it looks like a bomb hit it.
You know, looking at it likedriving through it during the
daytime, it looks like a bombhit it.
Um, but I see like there's hopeand I I know that the
resurrection of altadena isgoing to be even stronger.
But one thing that did come outof this um is, I think that

(01:12:28):
it's put a lot on altadena, onthe history of altadena and what
it really is.
I think a lot of people trulydidn't understand that Altadena
was predominantly a Black-ownedcommunity.
That was put together, aBlack-owned artistic community
rather, that was kind of puttogether spiritually, you know,
over time.

(01:12:48):
You know there was a time whenBlack people when they came to
California, it was silver linewhat they call silver line where
there was only certain areasthat they would rent out to us
or allow us to buy property.
And so Altadena happens to bein an unincorporated area of Los

(01:13:09):
Angeles, which is kind of likean exemption from that scenario,
and so a lot, of, a lot ofblack families move out there
and I don't know the percentageof black, but I know it was very
, very high at one point.
And they just so happen to bethe dopest artists in the world,
the dopest musicians in theworld, the dopest writers in the

(01:13:30):
world, the dopest scope.
They just so happen to be inthat one area.
You know.
I mean, they had their owncommunity for them that was
built for them.
They had their own parks, ownschools on, you know that type
of stuff.
So that's what burned down.
It wasn't just when we say, youknow it was a black community,
we thinking you know projects,or we thinking the negative side

(01:13:50):
of it.
No, this was a very, veryaffluent black area that had
generations, like people youknow who who were born and
raised in those homes like thatare in my, that are my age or
even younger.
Their parents live in that home, their grandparents grew up in
that home.
You know what I mean.
Um, so the um, you know, justthe loss of knowledge, wisdom,

(01:14:17):
history is just, it's just sad.
That really really is, and youknow, it's only so much of so
much of that can be preservedand so, yeah, that's that's kind
of like what's what wouldhappen if you will?
Yeah, that's kind of like whathappened.

Speaker 1 (01:14:35):
If you will See, that's the part they did, that
the news doesn't cover, and justthe deeper stories behind that
area the internets and thepeople listening to this podcast
, that anything that they can doto help with the rebuilding

(01:14:58):
efforts in altadena well, um,you know there's different,
several different outlets, fromwhat I remember, that I can take
any type of uh donations or anytype of um any, any type of
resources that can help them out.

Speaker 2 (01:15:12):
I I know this out in the city chamber or, I'm sorry,
the Chamber of Commerce is oneresource you can use.
You can even hit us up at tradeschool, at gototradeschoolorg.
They take donations there ofany type.
Anybody local who want to giveanything to help out in terms of

(01:15:34):
canned goods, children's things, supplies, games, stuff like
that.
All that stuff is definitelyneeded at all times.
There's also a place out there.
I can't think of it offhand,but if anyone who's listening
and you are interested and wantto help out somehow, some,
anyone you know who's listeningand you are interested in and

(01:15:55):
want to help out somehow someway, just contact me directly.
Uh, my email is soul clap LA atgmailcom and you know I can
definitely direct you into a,into a good resource or a good
entity that can help out in thatway.

Speaker 1 (01:16:10):
Awesome, yeah, I'm a.
I'm gonna include that in thedescription of the show as well.
Um, man, is there anything, uhanything else that you want to
say to the internets?
Man, you want to leave yourlike how they can follow you on.

Speaker 2 (01:16:26):
You know, your, your link tree, your instagram, your,
your, your x websites anythinganything like that anymore,
though, by the way, ever sincethe orange guy came back.
But, um, okay, yeah, my name iszero three, aka erozilla.
On most of the social mediasI'm at erozilla, e-r-o-z-i-l-l-a

(01:16:48):
.
Um, you can search for me again.
It it's E plus sign R, o equalsthree.
If you just put E, row three, Idon't know what comes up.
Some there's, you know, couldbe some Brazilian stuff come up
or whatnot.
So, you know, not everybody canfind me.
You got to do a little bit ofthinking to to find me there.
Um, I'm on band camp at E rowthree, musicbandcamp, that band

(01:17:16):
camp, calm.
So I would say that's theprimary way you can.
You can support me.
My link tree is at er ozilla, Ibelieve.
If you write in that in the URL, it's linked that tree, slash
er ozilla, and it has all of myhyperlinks right there and you
know I'm everywhere.

(01:17:36):
If you're in LA, you know checkout.
I usually have my show scheduleon my link tree, so I usually do
anywhere from two or threeshows per month.
I do a monthly venue at JujuSocial Club called Vibe and Flow
.
It's an open mic where weinvite singers, dancers, rappers
, poets, musicians of any type.

(01:17:58):
That's there.
Lo-fi Dina is the last Thursdayof every month and Altadena
Again.
That's the open beats sanctuarythat I have for us beatmakers
there.
I usually have one or twofeatures there.
Right now my host is MC Randomand it's been great.

(01:18:21):
E-roll will be at X-Fest inOctober.
Again, I got those musicprojects coming out in November
and December.
Probably New Year I'll doanother Sincerely Eddie release
as well, but who knows?
And yeah, the E-Roll BeatAcademy starts in October and
it's going through November.
In fact there's six weeks forthe students who sign up.

(01:18:42):
At the end of six weeks I willfeature anybody who's ready to
perform at the Lo-Fi Dina.
So that's actually my plannedfeature for the month of
November is my students from theE-Roll Beat Academy.
Other than that, you can catchme in Leimert Park.
Every week I'm at Chaos Kids,which is Chaos Network on the

(01:19:06):
Peeper Street.
Let's see.
Last week for my Baba Ben's, myfather-in-law, ben Caldwell,
his 80th birthday, the city ofLos Angeles granted him his own
day.
So august 35th in los angeles,lamert, black area, pretty much,
is ben caldwell day from hereon out.
So that was great.
We had a ceremony for ceremonyfor him this weekend, um, so

(01:19:26):
yeah, you know, um, I'm in the,I'm in the village.
You know I'm in adena.
You know I'm in them streets.
You know what I'm saying.
So, yeah, so, thank you guys.
I appreciate everything you'vedone.
Go to mine, I appreciate you.
I appreciate the rec show.
You know what I'm saying.
I'm glad to tap in periodicallyto get you guys caught up on me
, because you know I do a lotand you know it is nice to be

(01:19:51):
recognized.
And to you know, just to beknown, that there's a audience
that's not here that isappreciating what I do and
supports what I do.
It means a lot.

Speaker 1 (01:20:04):
Yes, sir.
Hey, it's our, it's our pleasureto you know, to, to recognize
you, man.
You're doing crazy amazing goodworks, man.
So so I really, I reallyappreciate you, even from afar,
like it don't matter how far youare, like I can see it, I know
you, your heart is in it, man.
So thank you on behalf ofeverybody that's gonna be

(01:20:26):
listening to this um and tappingin um, I am going to.
I just thought about something,man.
I'm about um, cause I want tohelp you with this, uh, this, uh
, the E-Roll Beat Academy.
So I'm gonna buy yourdiscography, um, by Friday, okay
, so your whole band campdiscography.

(01:20:47):
I'm gonna buy your whole bank onbehalf of the rec.
Show man, I'm gonna, I'm gonnabuy that whole discography.

Speaker 2 (01:20:51):
I know I already got like maybe you got a few joints
already.
It's mad joints you ain't got.

Speaker 1 (01:20:57):
So absolutely yeah, yeah yeah, exactly, let me tap
into that, man.
But yeah, that's, that's whatwe're gonna do, man but,
erozilla, man, it's always apleasure having you back family.
You know I'm saying you familyhere, man.
So anytime you want to pop up,go ahead and pop up, man, let me
know.
And we, you know, we, we dowhat we do, but internet's
internet and you know somethinghonestly I'm in you in austin

(01:21:20):
area, right, or?
uh, I'm in, uh, san antonio area, san antonio, okay, oh, okay
you, you, you right by, okay,yeah I know where you're at um I
.

Speaker 2 (01:21:29):
I got folks right there in santa fe that I'm going
to be visiting in Santa Fe andDeming, new Mexico, which is not
far from, not far from whereyou guys are at.
But I'm going to try to, youknow, to pull up on you at one
of these days and we'll chop itup in real life, in person, have
a session and do the whole nine.

Speaker 1 (01:21:49):
Yes, sir, I'm all over for it.
Just let me know, I'm all openfor it.

Speaker 2 (01:21:52):
Man, just let me know , I know and I remember last
time we were trying to puttogether this idea of a huge
beat festival out here inCalifornia, which I'm still that
idea is still floating and Ijust feel like I just need to
get with the right curators todo so and that's something
that's, you know, we really wantto do.
You know what I mean.
It's going to happen soon yo,let's do it.

Speaker 1 (01:22:16):
Yo, I'm excited for what's to come, man, I'm I'm
super excited, like internet.
How can you not be superexcited for what's to come?
You, the ideas are brewing.
I feel like the the tribe, thatthat concept of the tribe is
coming together.
So I probably never left, but Ifeel like even more now, just

(01:22:39):
because it is digital, whateverit is, people kind of like
turned off the digital and thenreally coming back together to
build stuff.
You know, I'm saying yeah andum, that's a, that's a big major
thing that we need, especiallyin these times, man.
So, yeah, I'm excited for you.
Man, e-row, I'm going to betapping into your socials, man,

(01:23:01):
I'm going to see how this classis going.
Yo, it better be a majorturnout.
Yo, matter of fact, when youstart promoting it, let me know
and I'll promote it on the RecShow podcast, instagram and X as
well.
Man, all right.

Speaker 2 (01:23:15):
Well, you know I'm not expecting major turnout, but
I'm going to do some work toget the right students in.
You know what I'm saying andyou know, to be honest, you know
I don't have a certain numberin mind per se, because, you
know, if I'm, you know, maybeit's meant for me to only have a
certain finite number ofstudents just go around.
You know what I'm saying.

(01:23:35):
It'll eventually, you knowit'll eventually be like the
X-Men Academy.
You know where we'll have classafter class, after class, and
you know it'll eventually bethat way.
But right now it's just.
I want to improve each semesterbecause I have a lot more tools
to offer them.
I have a lot more, a lot moretools to offer them.
I have a lot more things tooffer the students.

(01:23:56):
This go-around versus lastgo-around.

Speaker 1 (01:24:02):
So, yeah, you know, let's go, let's go Meet with
Academy man Professor E overhere.

Speaker 2 (01:24:08):
Yo, yes, sir, without the wheelchair, without the
wheelchair, without thewheelchair man wheelchair,
without without the wheelchairman.

Speaker 1 (01:24:15):
Listen internet, y'all, tap in to Frigid man,
support Beat Pimpin and all theother albums he's got on his on
Bandcamp, follow him, run up thestreams, keep the community
alive, man, that's what he'sdoing.
It's been part two, butsomething tells me we gonna be
running the Bat World soon aswell, man.
So y'all stay tuned to the RedShow podcast, man, where you

(01:24:38):
know it's all about.
It starts with the record, thenwe talk about the music, man,
and that's what it is.
We, we, we like building onthis podcast, man, and you know
we building from all over theworld, man, not just where I am
in Texas, not just California,all over the world, man, not
just where I am in Texas, notjust California, all over the
world, man.
So if you're putting out dopemusic, hit up the Reg Show

(01:24:59):
podcast, let us know you'reputting it out, and that's it
for this episode.
Y'all, y'all, keep it lockedfor some more, and peace and
love everybody.

Speaker 2 (01:25:07):
Peace and love, peace and love.

Speaker 1 (01:25:14):
Peace and love.
Okay, okay, okay.
What up everyone.
This is good from jersey.
This is jomie b.
This is sans beats.
Tatumaki.
This is tita einstein.
This is your boy.
Yo, this is your boy bondo I'mvicky cassis.
Yo, what's good, fam.
This is double a, aka beats bya, so I'll let you know you're
plugged into the rec showpodcast.
It's your boy, bundo.

Speaker 2 (01:25:33):
I'm Vicky Cassis.
Yo, what's good, fam.
This is Double A aka Beats by A.
Just want to let you knowyou're plugged into the Rec Show
podcast with Golden Mind.
Keep it locked.
Outro Music.