No matter what I ended up doing, I'm appreciative of my opportunities because I was born in the places I avoided for the most part. So yeah, that's kind of how look at it.
Welcome to Midnight Chats, a podcast of laid back conversations with leading names in music. In keeping with these informal interviews, each new one is published weekly at midnight. This week's episode is hosted by me Greg Cochrane from Loud and Quiet magazine. We're lucky to get time in with tonight's guest, because fair to say, Vince Staples's diary is looking slammed. After a low key couple of years, twenty twenty one is a big one for the artist, starting with the music.
Just last week the beginning of July, Vince released his fourth album, The South of Vince Staples Album. Go check it out. It's the follow up to Summertime, six, Big Fish Theory, and most recently f M. Ten new songs made the final cut, But, as he says in the conversation you are about to hear, went through a prolific spell of creating material in twenty twenty during the pandemic and wrote almost two hundred new songs made about thirty of those with his friend and producer Kenny Beats that
ended up forming this new project. It was the week leading up to the release of that new album that Vince was speaking to me from home in southern California, and we talked a lot about his non music endeavors as well. I'm sure loads of you have seen the brilliantly surreal and hilarious The Vince Staples Show on YouTube and in a huge movie. He's currently making some more
episodes of that for Netflix. He's also getting into podcasting, There's a film project coming and before the end of the year he is also releasing his first graphic novel, So no wonder. He's not sure when he's going to be playing any live shows anytime soon. From a UK perspective, two things I wanted to ask Vince about. He worked with the producer Sophie on his Big Fish Theory album
in twenty seventeen. Sophie sadly died after a sudden accident in Athens, Greece, earlier this year and obviously a huge loss to music. A real visionary, and Vince speaks in really moving way about Sophie's influence and friendship. Plus we talked a little bit about him joining Gorillas on their World Talk a couple of years ago after we got to know dam in Auburn and collaborated on their track Ascension. So here we go a pleasure to welcome Vince Staples
onto Midnight Chats episode one hundred and twelve. Throughout this series, when we've been talking to different artists, lots of conversations about how people just managed the pandemic. You know what the last like fourteen months has been like, you know, in terms of like communication and how you've had to
change working and stuff. But I think a few different people have said, you know, that change of speaking to people online and working from home, particularly at the very start of the pandemic is actually they've enjoyed some of the things that have come out of it. Did was it like that for you? Did? Is it sort of made some of the part of your sort of job easier so to speak?
Uh? Yeah, I mean I appreciate the time to kind of be home or or like I feel like we have a lot of unnecessary interactions, you know what I mean, Like it's a lot we can get a lot done in the same manners and space. I guess it's you know, people like to go sit at the restaurant and go sit at the sohouse. It's like a it's like a thing. So that's not necessarily my thing. So you know, I like, you know, not having I don't live in La so I would have to like travel pretty far to go
do these things. And it's like you drive two hours for a fifteen minute meeting type thing. So so yeah, it was like, it's that kind of that kind of thing. But I know, I appreciate anyone's willingness and want to have to speak up to me about what I'm doing. So you know, it's not like I don't like to do it or all. I don't want to do it, but I do like doing it from home.
I hear what you're saying, because it's nice to have a couple more hours back in your day when you're not just stuck in traffic or something.
Yeah. Yeah, exactly.
It feels a bit. Yeah, it feels a bit more productive. Yeah. So am I right in thinking? It was your birthday a couple of days ago.
Yeah, Yeah, happy birthday, man, Thank you, I appreciate it.
Did you have a good day, what did you get up.
To and I think just you know, I've been doing a lot of work stof so I just stayed home for the day and didn't do you know, things like this for a day.
So obviously it's early where you are when we're recording this now. But what's your kind of like your average day at the moment, looking like, you know, do you have like a routine you kind of like get up straight into work. What what's your kind of current kind of situation.
Yeah, wake up, my promo, pressing interviews and if I have time for other things, which usually we kind of don't, I'll probably like you or something like that. But that, yeah, promo, pressing interviews and like I did a tiny jest the other day. No, yeah, pretty much use promo for this upcoming project stuff. That's pretty much where the day are right now.
It's been interesting talking to people throughout this series about where they're at, like people, you know, artists based all around the world and things are obviously at different stages of being opening up with everything going on with the pandemic. What does it feel like where you are? Is it is it things we're turning to the sense of normal or you know, still things a little bit different. How's it with you?
It's returned those sense of normal. I feel like, you know, I personally still believe you know, I should, I should, and we all should be careful and be mindfully you know the people around us, and maybe you know their compromise positions as far as you know their immunity and things of that nature, and just be just mindful and be kind of just be polite to other people and not, you know, just take take the proper precaution that worlds
we'll be taking, just not necessarily for ourselves with other people. But yeah, things are kind of getting back to I don't know if people necessarily are care much anymore like they did beforehand. I think people are kind of we live in a disensitized culture pretty much, so I think we're kind of getting to that point with this.
What about things like live shows you book, you're going to start booking tools and festivals? Is that kind of thing happening because it's it's in the UK, it's still sort of a bit of a we're like one foot in the pandemic, one foot out if you know anything.
Yeah, I definitely what you mean. Not as of now, there's nothing that's been booked. Yeah, there's nothing that's been booked. But I don't really see it happening for me anytime soon. But maybe you never you honestly never know. But I'm kind of I don't think that's kind of our next step. I think we try to, you know, get a lot of these other things we have coin are done, and then we'll go from there.
It's twenty twenty one about working on kind of non live projects for you. Is that Is that going to be the priority?
I don't know. I just I know we have we have this music stuff, We have this stuff we're trying to do within like a podcast space that's not necessarily traditional podcast. We don't think kind of within the format, within the podcast space. Working on you know this, the Vince Stable show Flix, trying to get this film called that ass that were working on Jermaine Foler, trying to get that film out. This little stuff, just a little mad, little stuff here and there, and I'm trying to like
turn into big stuff. That's all.
Yeah, that's very humble of you. It sounds like big stuff to.
Me, that big stuff until it happened.
So yeah, true. I wanted to ask what I wanted to start by asking you about the graphic novel because you just announced that you're going to be releasing a graphic novel called Limbo Beach in December. That's one of the things that you're kind of going to be involved with with this year. What's the background with that and have you always had have you had a passion for graphic novels in the past or is it an opportunity that's come your way that you thought that sounds really interesting.
So it's this company cause the two comics that works with Universal, they do graphic novels based off of artist music and h they when I was obviously I'm in the Universal system, So when I was brought the opportunity, I just asked him if we can do something unique to you know, it's own nothing that was kind of derivative music or projects specifically, and you know, they were up forward and you know they kind of kind of
held our hands in the creation of it. We just had to come up with the story and they found us a appropriate team to help finish writing and get they're brought to founder appropriately illustrated. It was a really good just a good experience, good team of people.
What I've seen so far from the kind of selected visuals that you shared, looks looks amazing. What can you tell me a little bit about the story?
Yeah, just you know, it's about, you know, a place where these kids go they kind of don't know where they are, kind of their journeys and discovery and their like their maturity and adolescents and like kind of uncomfromised situation of you know, you wake up in the place, you don't know who, you already don't know where you are, and that leads kids to being kids because you already know how children are. Children are very you know, I
wouldn't say judgmental, but you know, it's very surface. So that that kind of childlike behavior, that kind of child like mind state in a place where they're by themselves, but they have these unique abilities and these unique strengths.
Kind of it's just about their development, their personal development, and how they deal with that responsibility, how they deal with that power, how they deal with all these things while still essentially being children without knowing who they are, even because you know, as a child, no one really knows who they are as a child.
Have you how to finished copy of the graphic novel in your hands yet. Have you got it back from the printing?
Oh? No, but I've seen, you know, kind of where we're heading with it, and I think it's really really, really really good.
Do you think at some point it could kind of be I mean the visuals wise and story wise. Do you think there's some development in there? Could it? Could it? You know, in the past, obviously we've seen it tons of like graphic novels have been turned into like TV shows or movies or whatever. Like is that is your mind and you thinking that kind of thing?
I definitely think it's a possibility. I don't think it's a possibility. Especially with the team that we have and the people that are working on it, I'm pretty sure that anything is possible with these guys. They're very passionate about what they do and very knowledgeable about what they do. So if anybody can do it, it'll be these guys.
It's going to be the next Sin City.
Oh, that'll be That'll be very interesting if that's how it turns.
You already mentioned there's a whole bunch of like different sort of projects and happening this year. One of the things you just mentioned there was podcasts like what given that we're chatting now on a podcast, what kind of thing are you looking to do there? Because there's there's a lot of podcasts out there doing similar things, right, so how important is it to try and do something that's a little bit different.
I think I think it's I think it's a space more than is a thing. So if you can just utilize the space in a in a creative way and just utilize the space like the digestions, it's the way people digest things. So if you can kind of put
you can put anything there, you know what I mean. Like, it doesn't have to necessarily be because I would say that a podcast is very similar to what you would see on a social media feed, like based on the way people use it, likes same that same whether people will you know, will utilize the blog or something like that. I kind of see a lot of people bes in
podcasts in that light. So you know, it's very possible to use it in a different light because like I said, it's just just a conversation piece, and yeah, you can make it conversation about literally whatever you want to be about. So we're just trying to figure out a cool way to do that utilizing the space and doing something that you know no one else is doing, both visually and you know, as an audio thing.
On the subject to visuals, it always feels like every Vince Staples video that's ever released is an event. It's never ever thoughtless. It's it's always you know, it's always so imaginative and so many great ideas. Am I right in thinking that? Growing up, you know, you always loved movies and TV almost as much, if not more than music.
Yeah, I don't like music growing up like that. I still don't really honestly listen to music, but yeah, I do, like you know, television, movies and things like that. We all do. So it's like just trying to make sure that I'm able to create unique things that I would you know, that that that lean itself to, that lends them that's human, that lends itself to my art or whatever I end up doing. I don't want to lean
on just h I think this song is good. I don't want to lean on just all this visual is good. I want to make sure that they kind of me in the middle somewhere. So that's kind of how I look at a visual in general.
Can I ask it out like what will you sort of surround yourself there is when you've got ideas, So like if you've got a new idea for a video or something like that, or do you have like do you have like a home office at own where you stick like you do you like sketch out ideas? Do you how do you surround yourself with ideas? Do you like note them down on your laptop? Or like what what do you do to sort of capture when something comes to mind and you're like I need to develop that,
I need to work more with that. I think that's a great idea. Where do you put it? How do you surround yourself?
Nothing? Honestly, I need to do a better job with that, but I don't do anything. It's pretty much like you know, if it's worth doing, I remember. If it's not, I forget it, to be honest, But I'm trying to do a better job or remembering these things.
There's probably been like hundreds of great ideas that you've had that then you've got distracted by something else and you're like, damn, that one's gone.
Yeah that's definitely probably happened a million times. But you know, no, everything happens for a reason.
So we'll see on the subject of like TV and movies, what's the movie that you reckon you've watched the most over your life?
My life, So that would mean before I was picking around movies, probably like Friday or something like that, Friday, something along the lines of that kind of thing. My family is very very we digest and when I was growing up, like we digest it, very black things, very things that are very relevant to you know, our culture, and I would bring our surroundings. So so Friday was it definitely has to be it. Yeah, that's definitely it.
Can you so oversight every line?
Uh No, I can't r I can't really recite my own lyrics. To be honest, I forget things. I forget things very very very fast. But I do. I do love that movie very much. It's you know, for it to be for to be independent film, for it to be something that you know was a brain child or someone who's kind of has a similar you know, trajectory as me as far as like starting his music and whatnot.
I think it's a very important thing. It's very it's a very important film, probably more important than like it gets credit for.
Some of you just mentioned there was like, you know, keeping things in your head, you know, like when it comes to lyrics or when it comes to lines, if you're like working with a script or something, as somebody who kind of like necessarily quite sort of forgetful. So like when it comes to like you, if you're about to play a show, or if you're about to record a scene for TV or for like an episode of The Vince Staple Show or something, are you good at
retaining that information in your head? Or does it take a lot of hard work so that it sticks?
You know, I just just focused on it then there, Like for the Vince Staple Show, none, none of that was scripted. There were no lines. It was all okay, improvisational. I didn't write anything down except for like ray J's parts or whatever. Everything else is pretty much everything else is pretty much just off the cut. But yeah, if you've said enough times, you'll be fine. It's the way I look at it, you know, if I say it thirty forty times in a row, then I remember it.
Continuing on the subject of movies, is there any like genres or anything that you just never that just aren't for you, that you can't get on board with or you just never really kind of fully given the time to.
I always been somebody who's interested in like the wather things are made more than the things themselves so or why people like things. So it's not anything that I can't do or anything I can watch or listen to or anything like that. I think I can kind of just I can adjust any of those things issues. I'm I'm not looking to be like excited by it. I'm not looking to like, you know, fall in love with it.
It's just interesting to see if there's a movie and it's been made, obviously somebody like it, and obviously it's a crowd for it. So if I can kind of realize how and why these things kind of can fruition, then it could help me create things as well.
I mean in terms of the stuff they're working on for Netflix, is that like an extension of what you've done with the Vince Staples Show. How do those things relate?
Yeah, exactly, that's exactly what it is. Literally exact. That's how we got the show. So you know, Kenya can embarrass and his production company kind of saw. We had some meetings and they kind of that means a lot of people, actually a lot of people are interested, but it kind of made the most sense with Netflix. So we're just trying to do something that's very very that leads itself to that platform, and I think that's kind of that's going to be a great da for us.
You mentioned that a lot of the stuff that you've done on YouTube, for example, was kind of done created in the moment, you know, like spontaneously unscripted. How will would this be different? Is this involved more planning? You know, once you kind of work with a big kind of content provider like Netflix or something, I guess maybe things are a little bit different at that point. So what was the experience being like so far?
Well, it's just I just I just personally didn't do it, like but I knew what was going to happen was going to be said. We just had a general idea.
But essentially it was just being chinmatic and we were able to work with some great people who have you know, like the extras and not the actual but the additional actors in the first one, like those the guys from the film I don't know if you've seen if it's a film called The Wood that was a really big film out here, Like they were the additional characters, you
know what I mean. So even past that, like we just had to you know, some really some some local legends I would say, from California just to kind of help us with it, and I think that kind of made it to where we had that leency. But yeah, we're definitely writing the shot and stuff. Obviously, I was just that was just a like an anecdote based on like remembering the lines. It was really nothing to remember.
I just had to kind of know the scenario and based on we were running we were running gun in it as if it was a music video, So I just I had a little bit more leniency with that. But we did that, and like it was a very quick like put together thing. So now with how we're doing it now, I'm pretty sure that it's going to be even better.
I'm looking forward to seeing it. Are there any shows out there that have been shared in the last few years that you sort of see as a bit of a blueprint that you think, you know what, that was great, I'm going for that kind of sort of thing, or do you feel this is something completely unique?
Not at all. I guess I was tooking from the rap world. So you don't want to be like, you don't want to bite anybody's idea. But there are a lot of great things that I've seen that, you know, I like How to Be a Guid in Central Florida. I think that's what the show is called. Excuse me if I've kind of said anything kind of wrong. I'm not sing good names. Of course, Up Paying fifteen is great, Atlanta's great, so many great things. Black One Day is great. Yes,
it's a lot of really really good shows. I think obviously you have your love Craft Countries, you have your Watchmen, you have these kind of blockbusters shows, but yeah, it's a lot of really good stuff out there.
Well did you make of that show, Dave? That's kind of like only really been big in the UK the last like year or so.
I honestly haven't seen it, but a lot of my friends are of Travis is working on it, so I'll watch it one day definitely, definitely. But I know they're in their second season right now, and I know for sure they're going to get a third because they're doing great. So yeah, that is something that I do plan on watching.
And what about like the different disciplines like working on a TV series is obviously totally different discipline to sitting down writing lyrics for a record. So how are those things different for you? Do you have a preference for one over the other? And how do you switch modes? You know, how do you how do you one day sit doing one thing and any other, like using a different part of your brain.
It's very similar to me because at the end of the day their words, you know what I mean, Like a television shows words, a song is words. And either way, you're basically just trying to have a conversation with the viewer and the listener without necessarily acknowledging them as as mean as that sounds, I meaning the peers way possible.
But yeah, so it's just trying to have a good conversation with you know, whoever's listening, and there's no it's the same thing as a podcast essentially, it's the same part of my brain.
Specifically, do you have the viewer in mind?
Do you do?
Are you thinking of it in terms of a conversation when you're writing that stuff? Like do do you sort of have this like imaginary imaginary viewer or listener in mind when you're doing that?
I mean that you kind of have to, you know, because it's like you have to make sure that everything makes sense as far as like the trajector what you're creating. Right, So things have to have a beginning miail end essentially right. But some things can go on set based on the audiences itself, you know what I mean. So you don't need every little detail if that's based off it's somewhat conversational.
There's some things that are implied and that's based off you knowing the listener or knowing the listener's position.
With regards to music, obviously, you worked on a lot of music in twenty twenty, Like I read that it was something like one hundred tracks or something that you'd kind of worked on. From all of that, how did you decide what would appear on this self titled album?
It was like like almost two hundred eight hundred ninety something like that. I forgot, But wow, what the project?
I mean, that's that's prolific. Oh, that's super.
I mean, no, they all weren't good, you know, they all weren't good. There weren't finished, But I think it was the first time I had like enough time and just took the time to really just create aimlessly. You know pretty much. I've never had any like spirit songs pretty much every Soca Bide it has been put out. So it's funny, like the Kini stuff was kind of a separate excursion, like I did the Kinny stuff. I mean the Vince Abe was project your stuff with Kenny.
We did thirty songs in like eight sessions towards the end of the year, right for Christmas. So it kind of wasn't along the same vein of you know, what the other stuff was, but that other stuff was very violent. Like where I am now creatively, I was able to like learn a lot from creating that much, if that makes sense, like not being as precious with the ideas, knowing that other things can service the other you know,
certain things can service it more than one way. Are certain songs end up being referenced in like one line or you know half a bar I just you know, took three songs and turned them into two lines, like it's happened a few times.
And what's your relationship with that material that you've made, like you said said the kind of a couple of hundred songs, like some of that is it going to make it onto future releases? Some of it. Do you just sort of probably had a hard drive somewhere.
Probably not no fair enough. I honestly don't know, but like I would know, like thinking about music is, if you don't put it out when when you if you don't love it when you make it, you might not love it later. Yeah, I mean, it's just it's a learning curve. It's just really a learning curve.
The album is self titled to how does It Feel Too? I mean, and you've talked about how there's more more about yourself and the lyrics on this record, So how does it feel to kind of give more of yourself away or share more of yourself than on previous releases with the lyrics?
I mean, I don't think that's the case, to be honest, I think I've literally said the same thing in every song I've ever made, because you know, at the end, they're just making music about your life, if they if you choose to do that. You know, when you're making music about your life, it's only so much, you can say, it's only so much life to live. I think a lot of it is putting the right things in the
right spaces. It's one of those things, like you know, it's not what you say is it's not what you says how you say it. So it's like people say, why haven't you spoke about this? Why why haven't you spoke about this? It will be things that I've said literally ten fifteen times, but it might have not have been on the on the beat that was suitable for that kind of understanding. It might not have been you know, it might not have been palatable, I would say palatable.
So just making sure that you know, when it's a big fast change, so much things going on musically, and there's so many, you know, different ways that you can you know, approach things. It's not going to seem as if let's put the let's put the lyrical content first. Know that's not what people are thinking about and they're thinking about that project. So as I got to this position I am now creatively, I kind of start realizing that and you know, just with.
From there and I really like the interludes on on this album. You're You've got your mother on there, for example, what was the what was the conversation like when you said to her, I want I want to make a recording of you to to go into.
The I'm not recorded is she not If she not recorded that, she would have said it. Yeah, so she for sure that she doesn't even if she just still doesn't know that that's on the project. I say, here's signs, and she said, okay, you know so I got on the project right.
So do you know if your mom listens to your records, you'll hear it once it's out here one day? Are you looking forward to that conversation with her?
She's not gonna care?
Is she pretty chill?
Like?
What's how does she feel about like your kind of you know, your your day to day, your achievements, everything, and she's just just still your mom.
Just as long as like I'm okay and I'm happy, you know, to make sure you eat every day type stuff that you really really really really from others. So I'm very appreciative of it. So you know, yeah, my mom's not My mom doesn't care about that kind of stuff. She's happy that I'm happy with whatever I'm doing. If I said I don't want to do this anymore, she wouldn't. She wouldn't spend one second trying to talk me out of it.
What do you appreciate about that? Just the grounding, just the sort of the feel of always having like almost unconditional support, you know, just always being there regardless of what the high days and the low days. Basically, Yeah, you.
Know, I, like I said, have a great mother. You know, she's uh. Without my mother and my you know family in general, I wouldn't kind of be where I am so and she's literally the main, the main, main reason.
You mentioned Kenny Beats earlier and you're kind of work together on this in the sessions that you had. How is that experience of working with him. He's worked on a whole wide variety of projects. Yeah, how is that for you?
It's easy working with Kenny, Kenny my friend. Like I talked to Kenny every day, no matter, like probably not real I do't tell anybody every day, but I talked to Kenny a lot. So working with Kenny's easy. It's almost easy, Like is hardly explained. We did a you know, we did thirty songs and eight session and I was there for like probably two hours per session. You know. It wasn't like we were sitting in the studio trying to figure anything out. Like I would come over there
at like seven eight o'clock at night. He'd have two or three beats. I listened to him pick one and pick two recorded and I go home and then we had a project. So it was very easy.
The last time I saw you in the UK was part of the Gorillas festival in Margate a few years ago and I was like twenty seventeen something like that. Yeah, you obviously performed. We collaborated and perform with Gorillas quite a bit. How do you do you reflect on that experience? What did you take away from that?
And it's a great experience growing up, you know, when field Good was out and things of that nature. Of course, you know Dame's done way more than that, but that's you know, that was my reference point. It was just interesting to be able to go there and be a part of that and be on that stage. I understand that these are once in lifetime opportunities like these are not regular things. People don't get to just do these
things and you know, spend some time with Daylight. You know Sims who was extremely extremely talented, like a good friend of mine, like literally wanted a lifetime type person, talent, all that stuff. Yeah, it was it was just fun to be able to see these things, to go to Brighton all the other places I've ever been before. I had fun. I really enjoyed it, and it's and I like doing the show where I don't have to really do anything. I I gotta do one verse, so you know,
you get you get all the good stuff. Were touring without having a practice really you know, things of that nature. Just one verse a night, and I get to travel. I like it a lot. My favorite thing about music is being able to see places.
Four minutes every night and then you're done. You're out exactly during your trips to Europe? Then what places and people have sort of connected with you? Is there any particular places you've been to where you thought, you know what? I really like this. I could even like imagining myself staying a bit longer, or living or just sort of soaking up Europe specifically.
I really like I really like learning. I don't know why either. Like I just like the way places look. One of my my agent, Doug, had his wedding in the countryside, so that was that was interesting over there. I liked it. I'm just appreciated. It's not like I look at places and I like them, Mark don't. I like. I don't live in there. I live in like the suburbs right now, like basically the middle of nowhere. I don't like to go out and like I'm not like a like a see person, Like I don't want to
be seeing type thing, So I don't. I L I L. I like traveling and just seeing how people are living, Like when I when I used to travel, obviously when the schedule was a little bit more lenient because I wasn't as successful. When I say self wasn't as big of a artists. She was successful if your traveling, but I wasn't as big of an artist, and I didn't
have as had people to schedule. When I would travel, we would just like walk around and like just look at stuff and like look at people and you know, walk around and get lost. We were walking for hours and like in in in in Ireland, we were walking for hours in you know, Australia and shit like that.
So I really really really enjoyed just being able to travel and see things and see how people live and cause I like to look at the similarities more than the differences because the similarities give you like a sort a sort of comfort that kind of helps you while you're creating. And yeah, that's yeah, that's definitely like, that's what I like about it.
The bustle and way to get a word from me about another British artist is that you worked with previously Sophie, who obviously tragically passed at the beginning of this year, and you work together on Big Fish Theory, and I wondered if you had any reflections on Sophie's talents and the impact that working with them left on you.
I don't think about Sofia. Sofie was a very very unique person. My favorite thing about Sofie is how when Sophie walked in the room, she wasn't like afraid to like be Sophie. Like the funny thing about Solfi people don't realize Sophie's like six ' five, Like Sophie's a large human. So just to be six y five and walk in a studio that's not even need to still able to be in Australia when it's ninety degrees outside in black leather bubble cod. I was like, who is
this crazy person that was? Sophie was just funny, Like Sophie always had never go to sleep up all night, call you to go to the studio at four o'clock
in the morning. It would be awake early, like being Sophie became friends because you know, I would be up early and I would call if the rooms are smaller in Australia, like of course we're sticking and moving, so it doesn't really matter, but I would be like upstairs and like the balcony and like the lobbies super early, like doing stuff better Internet type stuff, and.
So for be up there.
And I think Self is kind of surprised, never admitted, but I think she was surprised that we knew if she was or not that we knew, just that we were like that we liked the things that we're done, so you know, just having conversations and you know, talking on the on the sideline, you know, just being you know human, you know what I mean. We have to we have to care about people, like I'm I'm a I'm a nice person, you know, so I like try to be at least for the most part. So and
Self is also a nice person. So that kind of was just our connection. And then we only made two songs and they both came out. So that was my friend more than the collaborator, you know, email me randomly and just check on me and you know, shit like that, and I want to go see a lot of time she that's time before last she was in LA she was working on her last album. Yeah, just a just a really really really good person, A really good person.
Ahldly good person is shees me hard interfestal somewhere. We're at festival somewhere in like the South. Randomly I forgot where it was and this motherfucker just got lost and just popped back up in like four hours dancing saying what she walked away like literal absolute crazy person. I had a lot of appreciation, a lot of respect, a
lot of admiration for it. And you know the things that she did and self did a lot without talking about it, if that makes sense, made a lot of just covered a lot of ground and made a lot of you know, strides towards things for herself and what she believed it and what she represented her who she identified as when it without making it something that was no, it wasn't. It was okay, this is my talent. But also on the other hand, this is who I am.
It was never a marketing tool and as someone who tries to do the same thing because I have all these experiences, But I don't want you to look at me and be like, oh, I'm happy for him. Let me let me feel good for it because he made it out with the hood or things that the nature. I don't like those kinds of things, like don't use my circumstances as like a crutch for me, and so as somebody who literally did not use anything as a crush. And you know, it wasn't always a bright day for Sophie.
Wasn't always a happy day for Selfie, but you know she walked about right, she walking around like her chin up at all times, like it was never any sort of poured me. What about me is like when it was time to make the music, when it was time to perform the music, the music is all matter. And I think that's something that I definitely, definitely, I definitely respect and I've kind of learned a lot in the times that we had known each other. So yeah, I appreciate Selfie a lot.
Thank you for those words, Vince. I think that's like a that's actually a spot on beautiful tribute to an artist is a huge loss of the music scene. So appreciate that and hard to talk about it not just as a from Sophie's like artistic contribution, but also as a friend as well. So thank you for that final question, Vince, because I know you gotta be other places and do other things. It's really just about how you think about the future and what you see your vision for your creativity.
Like do you ever sit down and think, like what will what will I be doing when I'm forty, Like will I be working on TV shows and movies? Willlet's still be making music? Do you ever allow yourself to kind of think that far ahead? Are you much more live in the moment, be kind of person.
Oh yeah, we definitely have like tentative plans as far as like goals and things of that nature, which have to plan things out in advents. But you know, you kind of got to listen to life. You know, if life throw something away, that might change the whole plan up, you know what I mean. So just trying to, you know,
just be open to listening to life. And also, you know, I don't know, just you know, just trying to make sure that I have a planned, but I'm also like open to change, and I think that's what keeps you in this thing, you know, because I'm no matter what I end up doing, I'm appreciative of my opportunities because I was born in places like Void for the most part. So yeah, that's kind of how look at it.
To find previous episodes of Midnight Chats, simply search your podcast app, don't forget to follow or subscribe to keep up as they're published every week at midnight. For more information on the music magazine makes this series, visit loudanquiet dot com.
Anyway, goodnight,