BONUS: The Music

the center of the series, which is music. So tab Lou, we got you beaming in from your home in South Korea. Tell was good to talk to you again, Hey guys. Yeah, yeah, and we got, of course Kyle Murdock here, So Tableau, I got to introduce you to Kyle Um. He's a man behind the curtain. He's the sound designer, the sound engineer for Vice Audio, and he actually fully composed all the music for the entire series, including the theme song. So I want to talk about that in a little

bit Um. But also Kyle is also a DJ and a producer in his own right, and back in the day he was signed to Rockets records with your group Pantasy, Is that right, Rockets? Right? Yeah? Yeah, oh damn yeah, I've heard your stuff. Yeah, that's crazy. Yeah, really anything from Rockets I've I've heard, okay. Yeah, this is what okay, And this is why I wanted to introduce you to Right because you know, one of the big things that brought us together is this really you know, deep and

I think important story. But the thing that really, you know, taboo you and I brought us together fundamentally in the background is music. Right. It's hip hop when we would not have been having any of this conversation, but it wasn't for that. And you know, even in the last you know, a few months since we talked, Tableau, I know a bunch has changed since we last met. You released a whole album, which when we were talking it was I think it was the track list was written

in in dry race marker on the door. You were still trying to figure out the order. So that's out now, and um and Kyle, you know, we we put together the series and really put on all this work to make it kind of sound cohesive. So one thing that I think a lot about with with music right is it's something we've lost with streaming, which is, you know, streaming is great, but being able to go to somebody's house and look at their CD collection or you know,

the iTunes collection just say okay, I get it. I have a pretty good idea of who who this person is, where their background is so tableau. If you were to narrow it down just two or three, what would be the records that made you you? You know what, what turned young Dan Lee into tableau? I think Nirvana's never Mind mm hmm uh and also Teller Quality, most de Black Star album okay uh. And I hate to leave Illmatic out of it, but I think I'm gonna have

to go with Snoop Dogg. Really yeah, his first album, Doggy Style. Why that is? That is pretty eclectic? Yeah? Dog Style? Like I could have guessed by listening to your first record, I wouldn't have guessed Nirvana. I wouldn't have guessed never Mind. Really, I was really into um, Nirvana, Smashing Pumpkins. I've always loved hip hop and rock, and it's sort of represents who I became when I was listening to the to the albums that I just mentioned, I think that's sort of where I I was becoming

who I was supposed to be. I felt very at home with those records. Kyle, what about you. Let's see a trap called quest my big huge tropical question. Um, And I can't pick really between the low End Theory and Midnight Marauders, so I'm just gonna say they'll take up two of those three slots. Low end theory. Low end theory, I mean low end theory. I got some fine. I have fond memories of both, but yeah, I I

can lean towards lowand theory. That was the first cassette tape I bought UM back in, which is crazy I'm dating myself, but anyway, and I guess from my third it would be De las So delas So is Dead.

Like I really love skits, which is probably why I got into like sound design and creating scenes with sound um and principle Like that album to me was like the first time I had really heard anyone like use you know, besides songs like have a thematic kind of through line through an album, and I thought it was really cool. And again that was I think so something

about that year. I was only eleven, but you were listening to all this stuff too, right, that will Yeah, try to call quest was actually a name that popped up when you asked for three records. But you know, it's kind of savage you're asking for asking someone to choose a top three, like even a top five. You know, I hate having to ever choose, you know, the top five thing? Yeah, top three is just cruel. What are your what are your top three albums? Then? For for

this question, Uh, I three is hard? Um obviously I would say me is probably Wu Tang Forever, Dick over thirty six Chambers. See I I I would taboo. You and I have sort of a similar situation and that our parents didn't really want us listen to this stuff, and so I found Um, I don't know if you know this, but Walmart back in the day would carry sort of sanitized versions of all the big records. So if your parents wouldn't let you have the explicit lyrics

go on, you could just go to the Walmart. They had Wu Tang Forever at Walmart and you could buy it and everything was edited out. But it was cooler because it had kung Fu sound effects over the over the curses, so it actually sounded cool. It wasn't just it wasn't bleeps, it was burning. It was yo. I highly recommend it to anybody. So if you basically did it, oh no, you can tell you. You can tell. They didn't give it to the A and R. They didn't

give it to the sensor. They said, Rizza, we need you to make this and he said, okay, yeah, I got a bunch of Kung Fu samples. I'll do it. I would say that. And this compilation this uh, it was MTV Amp two, but it was just a bunch of electronic music, which is nobody around me listened to. And I was just the only person. I'm listening to drumm and bass and techno. I don't know what any of this stuff is because nobody in my hometown knew

what this was. But it just, you know, that's what actually got me into DJ and you know, doing college radio stuff. Probably those and two very strange picks. Yeah clean clean version of Utan Forever and MTV app Yeah man too, because that's what that's what there was. That's what they had at the store. Drum roll for the third one, what's your third pick? Why? Cleft John's the Carnival.

I'm not saying that's my favorite record, But I am saying, yes, the skits, the skits are phenomenal and just the through line between everything he takes you just places you didn't think you were gonna go the set? Are you talking about the song? Pocket? You talking about? That was like from another But if I was to take it to things that I thought really hit me musically, it would probably be Eric about duds debut a fourth Yo. You you you went. You kind of fudged it to man,

Come on, You're allowed to do that. I'm the host, bro okay, whatever, Okay, But but speaking speaking about that, okay, I think we have all these but part of that, I want to take this back a little bit. One of the things that that we worked a lot on is uh is the theme song. And so you know, I know, I know you're you're usually in the other seat, but maybe I'll ask you to sort of be the music journalists here tableau. Um, the theme song? How do

you feel about theme song? For this one? I loved it, And I also loved the rest of the audio production. I mean it, I only heard the first two episodes as we're doing this right now, and um, the audio production was like miles above what I imagined it could be because we just had conversations, but it became like it became something because of the audio production and the music. Everything was so so good. So Kyle like, seriously, thank you,

you did an amazing job. Yeah, it was awesome, man, just working on it, just helping to tell your story, you know, um, plus as a music producer, you know, at the flex a little bit and just let people know it's funny because tell what you may me not realize this, but I listened to your early records and I was putting that plus the stuff you were saying, because I was kind of in the back of my mind, I knew, Okay, we're gonna have to have a theme song.

Do we do this? So we were actually kind of trying to reverse engineer young dan Lee Young tableau into what sounds like something he would have dug And so Kyle and I went back and forth on this. You know, it's just all right, man. You know that there's gotta be some horns in there that sounds like Pete Rock and we we we were arguing over the bpm. He added a hundred. I was just yo, slow, you gotta slow down the nine four and he's all right, man, we'll try it. And it was a lot. It was

a lot, So I'm gonna feel like it. That's a very That's an interesting way to like produce a bat you know, reverse engineering it so that it reflects someone's life. Yeah, And like I've been making music about my story for like two decades and I don't think I've ever done that.

It was a fun challenge to say the least. Shout out to one of our producers, Stuff Big, because she sent a Spotify playlist of like all your influences or you know, like from from obviously Atomatic to um Bob Dylan, and it was like, yo, what Yeah, it just has to sound like the Atomatic and Bob Dylan. Yeah, right, right, right right. I think when you do music and both of you all can can speak this so just as a creative like it should be a challenge, Like there's

no challenger. It makes the you know, the end result like not as satisfying. You know, if if you think about even just how it started, right and you know, just I think when all the peoples are coming up, we all grew up, you know, three separate places, and we have these different influences, but there's something about just how hip hop culture works, where if you're gonna do it right, you have to have the background, you have

to have kind of this knowledge of it. I mean even if you go way back to the first parties and you know in New York, Yeah, it was this new genre. But what were they playing. They were playing their parents records, and so you had to know about just all you have to know all of this different music and I mean, tallow, that's something you could hear, especially in your first few records. Yeah, like soul samples weren't really a thing yet in Korea at the time.

Um and Uh. We we wanted to make sure that the album reflected the things that we were listening to, um, you know growing up that the music that we liked. We wanted the first album to reflect the influences all of those rappers and hip hop musicians that influenced us. I didn't want it to just sound like illmatic. I wanted it to sound like what Nas must have been

listening to when he was a kid. Yeah, and so it had to be like a crash course for um, everybody in Korea that you know, it was just finding rap a novelty at the time. Um, we had to explain like the whole sampling thing and how it's not plagiarism, and there there's still debates about like sampling, like how how can you take someone else's music and just put some drums on it? And we're like a lot more

is happening than that. Yeah, and uh but but yeah, like it's not like everyone's still it's not like everyone already gets it immediately, but um, but it's it's a lot better than before. Since you've if we've talked, you've dropped an entire album and there's a whole bunch of stuff. There's a big catalog we can go through. So I've spent a bunch of time in your music. But also know the Kyle has um, you know, what the hell did you just do it? Like this? Kyle? You got

a favorite? You got a favorite track? You gotta favorite every high song. I think the album that has kind of you know, resonated with me the most map of the human soul. I think it's really resonated just and I can hear it like because it's it's interesting. Like when I started listening to it, I had to go and I was like, when when was this release? Because now it makes sense that you're saying that you all

were somewhat playing cash up. We're not you, per se, but the people in Korea listening because that style with chopping up in the boom bap like almost like the DJ Premier style with the cuts and stuff. We in the US have been spoiled. We've been doing that since like the you know, ill matic and p rocking Seale smooth Gangstar like, so it's interesting to hear it's almost like it was a few years later. But it's also you gotta key perspective trying to keep it pool not

int Safina walk. So Hannibal this actlutely. I was working with the producer. I told him, I want to do something that sounds like de La Soul. So you're you're totally right, Like, uh, we were trying to like capture things that we felt for the for the decade building

up to when we released their first album. Because by the time we released their first album, people had moved on to like Swiss beats, beats um a lot of meaty uh and you know the whole like chopping up and using vinyl samples was sort of uh, not in fashion at the time already. So in Korea, what was strange?

They just jumped from very amateurish beats too, like what was trending, like Swiss beats um and also like you know, the whole like Destiny's Child kind of beats, like very highly produced and yeah yeah, and they had just skipped over like the entire nineties with the with the cassio keyboards, like I used to hate Swiss beats with the that was his thing, like he would hit a key and it would make a scratch. Let go, jigga, jigga. I was like, dude, where that was great? And now it's amazing.

Now it's like now, yeah, man, people don't make beats like Swiss beats and no more right, you know, you know, Okay, I want to take this sort of a different direction because mine, my personal favorite actually track is wish you were Hm. That's it for me, man. For the last few years, it's been so I've been to stay home there my daughter to sell the pain and whisper stay home and people's take. I have a lot of thoughts about that, but I would love to hear yours. Where

where were you when you were making that? What what prompted that? Yeah, like we didn't have this when that album was done. Basically it was felt like the album needed a proper last track, and you know, you know, as producers, you know like, um, some beats and some songs take like months to finish, yeah, and then there are songs that like literally take ten fifteen minutes and

you feel like you have it. Yeah. I just went into booth and I was like, I'm just gonna do like one two lines at a time, and I'll try to come up with the lyrics. And that's why it sort of just sounds like half narration, not even really a full rap. So what was it you were tapping into? Because I'm the good about what you're saying, right, yeah? Um. So at this time, uh, there was like this whole thing going on like online, like in in hip hop forums and even in our fan chats about like how

EPICCAI is. You know, they're all you know, two of them are dads. Yeah, but you know like their dad's you know, they're old. Some of our fans were just shipping on us and someone called me like a stay home dad and um, and I'm like, well, aren't we

all like stay home at this time? And that's where like the whole uh exchange with my daughter thing happens because I told her, I was like, you know, people are calling me like a dad, which I am, but you know, when you call a rapper a dad, I'm I'm not sure that they mean it and a good way. And She's like, I like it that you're you're a stay at home dad. I mean, for me, this is

why I like it. Honestly for me, man, that track is the best disk track of the last past few years that I've heard it, hands down, Yes, bro it that it's cold because I think in some ways it's very you know, it's it's very thoughtful, right, But the in in the back of it, I also here you where are your priorities? You know what I mean. I'm I'm being a great dad. How is that not something you think is a good idea? We're all very used to.

And I love this stuff, right, I love listening to rappers rap about you know, the cars and the money and all this stuff. But yo, I'm chilling with my daughter. Yeah. I mean, I think even with uh, the the stuff that I went through, UM, which you know was at the center of authentic UM. I think one of the reasons why I was able to withstand it a bit. It's because people usually attack what they think is important

to you, and in hip hop, they will attack your ego. Um, they'll say something like, you know, you know, you're poor, like your your record sales aren't doing good, you're washed up. Yeah, you know, yeah, it's all status stuff. Yeah. But the thing is, uh, none of that ever really mattered to me. I'm not saying that like I'm above it, but it's just I'm a different person and those things aren't at

the top of my priority list. Yeah. And that's kind of what I was here, you know with even with the title wish you were It's like, Yo, I'm I've evolved, man, get on my level. I cook really good round from my daughter. Dude, I am if we get together when I'm in the States, I'm making Roman for you guys. I am literally top like, not even top five, I'm like top one or two Lamar or j Cole of Raman. Okay, I want to keep going with this, but we gotta

take a quick break. We'll be right back. So we're back. And and one thing I wanted to touch on a little bit is, you know, aside from the music that there's a sound design, right, which sometimes may not be so obvious, but but it's really part of what what helps you go to a place, what helps you feel

like you're somewhere. So I want to throw this to you, Kyle, Um, was there was there anything that you found challenging about bringing this ory sort of alive because you know, me, me and Tally we just sort of chopped it up for hours, right, you had to make people feel like they were there in the room with us. At another prior job, they used to cause audio animators and I like that because it's like the idea of taking things that you normally would see or image and using sound

to bring them to life. So, Um, I think about two things stand out to me. Um. One of them was Hung Day scene. That that scene in particular because it reminded me of being in college. Yeah yeah, yeah, Kyle. I mean love what you're saying here because a lot of this, you know, the way, the thing that made it work was being able to hear us there. So

I'm gonna play this right now. Hung Day is the name for a neighborhood that's around hung University, and in the early two thousand's it was the hip hangout for young people who were into art and music all right, one to one to check one two one two. During the daytime hung they looked like any other college area, small cafes, boutique shops, that kind of thing. But at night,

the local pubs, bars and clubs transformed the neighborhood. The central gathering points was this neighborhood, and also specifically there was most of the nightlife targeted young college kids, so the drinks were cheap, the music was loud, and a lot of the clubs were literally underground. It's amazing, um because I actually lived it right and um, as I was listening through, like hearing it right now, like with

my eyes closed. Um, it really does feel like I'm back there, you know it just with the uh, with the music, but also the way the noise is overlaid on it. Um, it really does take you back. And and I love that that phrase audio animator. I'm gonna start using the I'm putting that on my LinkedIn like because that's so accurate. Um. Yeah, I really believe where in an age now where audio is is so much more powerful than people know. How did you how do

you take us there? Just listening. And also I think story beats, like making sure there's this room for like literally the beats I'm putting into actually like breathe and like hit four minutes, like to break up the narration. Good writing. So shout out to our producer Stuff k who wrote that episode. I've been working as an audio animator since I left college in two thousand and one,

and obviously it takes iteration. It took some hours, and like if people saw the amount of time I was spending, particularly just doing one que and one scene, they'd be like, that's crazy, But I'm like, no, that's art. Tabloo kind of has the I think I've seen this before, the sort of the I'm taking notes. Look, okay, I see this. Hell's done. I'm thinking to myself, I need a beat from Kyle. Yo. That can be a rain next time we do something, I need to beat from Kyle because like, dude,

it's just it was really good. Thanks man, that's awesome. I saw I saw you nod in your head as it was going Yeah, when you're closing your eyes and dot in your head. I felt that I need a Kyle beat. Yeah, that are you kidding me? That's like the greatest compliment. That's the biggest thing. I was asking all the time, all the producers. I was like, yo, I'm glad y'all like it, but I I would like it like this is his story, you know what I'm saying.

Like he has to be proud of it too. So anyway, that's thank you, that's awesome, and please let's collaborate for sure. Yo yo yo. I think I think we we accomplished something today. There's something Melson there speaking of Hungay, right, there's the restaurant across the way the we went to. You remember that one? Yeah, yet that you're going there? So talking to j Win, it was wow because I think the woman, probably the you know, was running the place.

It's the same person was running it. So I went in and it's it's a tiny little place you're talking about, the place with the the the grandma. Yes, okay, I was there yesterday, no joke, no joke. She was really mad at me for not showing up for a while. Really yeah, she got really mad. But um, you know, she she's like it's like it's like it's like a mother, you know. And she tried to make us like just leave without paying. So h one of us had to distract her and then we we used the machine and

we we charged ourselves. Basically, what's interesting is the only aartists that she uh remembers and still knows that that was always there um is us and g Dragon and Twang from Big Bang. So if you go there, you must have seen the pictures. There aren't many pictures. It's just Epiccai and she Dragon and Tang And I'm like something was in the food because it's maybe the last thing left of uh of at Piccai in Home Day

at that time. Yeah, everything else is gone. So there's kind of speaking of that that early arrow, right, Um, I know one of the things that we got into in the episode, on some of the episodes a little bit was just the ability to explore sort of different styles, right. And then how in the early days, you know, hip hoppy could be kind of kind of insular, you know, I mean a very sort of No, it's got to

sound sound like this tablet wood, you know. How looking back, how do you feel about that that time when you know you were getting some static from the hardcore hip hop heads about about your sound, you know, especially for your third album. I mean, I didn't disagree with them. You know, I was fully aware of what I was doing and the uh backlash or whatever I would get. I think it's just the way I was raised. Um

My parents, as you know now, were extremely strict. So the more they try to make me not do something, the more I would, you know, the harder I would work to do it. And I think that was the same case with with doing music in Korea. Like when I came in into hip hop, like I really had this fantasy expectation of you know, the hip hop scene must be different. You know, there's the industry, but there's

the hip hop scene. And the hip hop scene in Korea wasn't big at the time, so I felt like it it should be very, very tight, and um, you know, it's just it's like a it's like a whole underground vibe and we're all in this together. We're experimenting and all this stuff. But it was just as close minded as the industry. Like immediately, um, you know, they didn't want us to sound a certain way, and I did hip hop because I wanted to like go against the grain.

But yeah, if I have to abide by these rules, uh, I'm gonna hate doing this, and the only way I can love it is going in the exact opposite direction and pushing it so far that they eventually have to

accept it, which is actually what happened. Um, after we did that for years and got basically shipped on by the hip hop heads, they all started doing like E D M and like you know, one PM, they all started doing like vocal features MHM and and now and now we're back to like just beats and wraps and stuff. So yeah, it's hilarious how things change. Yeah, man, I mean, Kyle, you were you were on rockies at this point. What I mean, so you were in the middle of that conversation.

What was that like for you? Because artist wise, you know, you're you're pretty contemporary to each other. Yeah. I signed a rock Gison end of two thousand and five, so I think it was right after Swan songs. And even aside from rockets, it's a funny story that kind of overlaps with epic High because back when I was an audio animator, I worked for a company then called x M Radio satellite radio, but now it's serious x and Radio, And that was my day job as an audio animator engineer.

But in the on the side, I hosted a We called it progressive hip hop because we didn't want to say backpacker, independent, underground. We just went to brand the different and we were trying to play stuff that was just out the box, like you know, um And ironically we were getting Service records from different places across the world and we got epic Highs album. And it's funny because, yeah, I think in a lot of ways, what you all were doing with uh Fly was actually no one was

doing that in two thousand and five. Like the music we were playing on the Service at the time was

probably was not sounded like that. So in a lot of ways, you all were kind of ahead of the trend that eventually I feel like it was adopted more here where you would hear stuff again that's a little bit more up tempo, a little bit more dance here with with vocal features, because a lot of stuff we played was more boom bab, you know, even in two thousand and five, And the stuff that I was doing on Rockets was kind of like was was probably more akin to what you were doing on Fly. With my

group Pannasya, it was like the opposite thing. Like the label folded in two thousand nine, and um, we we went back to being independent and I got more into radio and you know, so it's like not a dream defer because I'm very happy that about that time, but it's like, it's just cool to see that across the world. And so this was happening to a group that was similar and y'all, y'all did it. So yeah, it's really cool. It's a cool story, that's an interesting overlap. It's it's

so weird. Yeah, yeah, I definitely remember getting the album. It's so weird because yeah, like I said, y'all two actually knew each other. You you two knew each other's work. Yeah, and you didn't even know that. Yeah, and then here it is, we're we're all working on the same project together. And and of course, like the way we went against the grain is kind of different from what other people in the States or something like it might be used to with like progressive. Um, but I've a I've always

been been a fan of that. Like trick called Quest I loved for that precise reason. Gala Soul, Black Alicious, Oh my god, yeah, Hieroglyphics, all of these artists were even far side was you know, like perfect name because it was really far out ye. And I've always been a fan of that, and I just did it in my in the way that was possible for me in

Korea at the time. So there's there's one thing taboo that that you said to me during the course of our interview, right, And you were talking about, you know, suffering as an artist, right, and I it was something like that. A lot of people say that, you know that there's sort of this idea that we have of the tortured artist, right, and it's suffering births great art. And you said something that really hit me. Would you said, it's it's not worth it? Yeah, Like, honestly, I liked

it until I became it mm hmmm. Uh. I had and idealized, you know, view of that as well. Growing up, I always identified with artists who had suffered a lot until I became that artist and I realized, oh my god, it's I'm human, and so so were all these artists that I was looking up to. They shouldn't have had to go through all of that to to give me inspiration or give me a song, or give me a

film or a book. How do you communicate that to a fan that Yo, this whole tortured artist narrative, this story, this storyline is actually destructive. Yeah, because the love that fans show an artist, I appreciate it fully, one, I fully appreciate it. But we can't say that it's permanent. Yeah. Yeah, I think just communicating that, or even even communicating they're

even having that conversation. It seems so so difficult because I mean, as as you said in and well before this thing dropped, right you newest record, um is that you continue to have a lot to say. Obviously m hm you you and the rest of Epic High you are not out of stuff to say, which I mean, you know, we can get into it. You're album just dropped. Yes, how are you feeling When we were talking you were

in the middle of it. Yeah, I'm I'm very happy. Um. People say that it speaks to them and they really love the album. Um, maybe this has to be like an end piece because I don't know, like I didn't know people would love it this much. Okay, okay, hold on, you're for for clarification because we're going to get a lot of messages about this. If we do not clarify this, you're not talking about stop making records. Are you I'm not talking about like retiring or quitting uh Epicai, I

don't think that's even possible. We're more like a family now, right, Um. But album wise, I don't know. I feel pretty content with if this has to become the last album, like if I don't know if it will. But I mean, if any of us three suddenly like has financial troubles and calls and it's like, it's like, get in the studio and record for me because I am fucked, dude, people are coming after me. I need I need to pay.

I need to pay help within the week or I'm gone. Um, if that happens immediately, I'm I'm I'm in the studio recording an album, right, you know to save two cuts? Right? He said two cuts specifically? Yes. Ah. But if not and and this this, like it just turns out to be the last album, I would be happy with it too. Wow, that's big man. I kind of want to like do

other things as well. And I feel like, um, I don't know, I've always felt weird rapping ever since I was forty, ever since I hit forty, And people always say, hey, but there's jay Z yeah, jay Z has billions? What does that change? I'm like they always say, but but you know jay Z because they can't come up with another name. Okay, okay, so what's next? If somebody you can't wrap, you gotta stop, you gotta do something else. I'm and and just to clarify for fans, I'm not

saying I'm quitting. I will. You know, music is a part of my life. It's it's just it's it would be akin to me not living. Yeah, as long as I'm alive, you'll get you'll get music from me. But um, I don't know. I feel like this is my last chance to just again try something new. I I don't know what it is, but I am interested in in the whole world. Um, I'm interested in everything concerning the future. And even if I even if I you know, I have to start back at the bottom. I would love

to try new things as well. Would be a journalist, maybe an audio animator. Hey, I'm I'm not saying I don't want to be a journalist. But that's all right. Hey, listen, it's not for everybody, man, It's not for this. You know, there's reason I'm not a rapper. Aside from the fact that I can't wrap. Um, it's like a rough gig. That's also a big part of it. But other than that, I don't think it's that important anymore. Okay, all right, before we get into the disk track uh portion of

the podcast. UM, I think we probably got a rapid here. Yo. Thank you so much both of y'all for taking the time and just you know, sharing your music journeys. Um tableau as always absolute pleasure. Thank you so much. Like, UM, you know, it's it's been a while since I've had this kind of conversation. It took me back, UM, and I feel like I'm, you know, back in college, like listening to music, and you know, I might go out and re buy some of these CDs. Like, I really

enjoyed this conversation. Kyle. I'm gonna hit you up for a beat whenever I do something like in the States, ok and Dexter, You're you're gonna wrap on it because oh, if you if you want to see your sales plummet, I can do that for you, my man, I'll do the intro. Tell you what, tell you what? All right, this is these official the official collab Kyle, You're making the beats, tell who you're rapping, I will do some sort of intro and it will call it a day perfect.

But yo, for everyone else, we have one more bonus episode coming out next week, and that wasn't going to be another deep dive into one of the main themes of this series. You do not want to miss that. Authentic is a production of Vice Audio and I Heart Media, Produced and reported by Stephanie Karayuki, Minji Ko, Kate Osborne, and myself with Janet Lee, Stephanie Brown, and Sam Egan. Sound design and original music composition by Kyle Murdoch with

the Dish the support from Natasha Jacobs. Our supervising producer is Janet Lee, editing from Lacy Roberts, fact checking by Minji Kop and Nicole Pasuka. Our executive producer and VP of Vice Audio is Kate Osborne. From I Heart Podcast Network, executive producers Nikki Tore and Lindsay Hoffman. I'm Dexa Thomas Jr. Follow this feed to not miss an episode when they drop, Rate, review and subscribe wherever you get your podcasts, and be

sure to check us out on Twitter at Vice. See you all next time.