Kaytranada

Anupa Mistry

Kaytranada, congratulations on your recent Polaris Music Prize win. Welcome to the Red Bull Music Academy in Montréal.

Kaytranada

Thank you very much. Thank you for having me.

Anupa Mistry

You're welcome, I think we should set the tone by listening to some music first because I think people want to hear what it is you've done.

Kaytranada

Definitely.

Anupa Mistry

I'm going to play my favorite song from your latest album.

(music: Kaytranada ft. Shay Lia – “Leave Me Alone” / applause)

That was “Leave Me Alone” from 99.9% featuring Shay Lia who's a singer from here in Montréal. When did you make that track?

Kaytranada

I made that like three years ago.

Anupa Mistry

This was before you signed to XL because you signed to XL in 2014.

Kaytranada

Yeah I think it was around the time I was signed to XL. I always send a lot of beats to Shay Lia because she's working on a project as well. She came up with the demo of “Leave Me Alone”, it's just little lyrics, just ideas and stuff. I thought it was really hot, not to have a lot of lyrics on it and just let the beat take over. That was what we pretty much did.

Anupa Mistry

How different did it sound as a demo from this version that we just heard now?

Kaytranada

Not really, it's not different pretty much. I think I just add a little more of extra things in the second chorus of it, in the second drop.

Anupa Mistry

What did you add?

Kaytranada

Like organs and strings in the sample, it's pretty much that.

Anupa Mistry

You work with a lot of people on this album, Craig David, Vic Mensa, Little Dragon, Karriem Riggins who's like what, a personal hero of yours? I think a lot of people here would want to know how you end up working with dream collaborators on your first album.

Kaytranada

Oh man, I think it's only by Twitter following, knowing that they love your music back. For me it's always awkward to ask someone who doesn't know me to just work with me on music. Pretty much it's people that I've met before, overseas or whatever on tour, knowing that they love my music and that makes me more comfortable to work with them.

Anupa Mistry

How did you meet Craig David?

Kaytranada

Oh Craig David, I didn't meet him before. I think he followed me on Twitter before. I was like, "Oh my god, Craig David's following me." I've been listening to his first album, Born To Do It, my sister was bumping “7 days” and “Walking Away” is one of my favorite songs from him. Just knowing the fact that he likes my music and he asked for beats. We have like five demos that we worked on, everything sounds crazy. It's pretty much choruses, “Got It Good” came with that. I really asked him to use “Got It Good” for the album and he said yes.

Anupa Mistry

For his album?

Kaytranada

Yeah... for my album, my bad.

Anupa Mistry

Sorry, but you do have stuff coming up for a new project that he's working on?

Kaytranada

Yeah pretty much, we have another song called “Sink Or Swim”. “Got It Good” he used for his upcoming album coming out on Friday.

Anupa Mistry

Coming out Friday?

Kaytranada

Yeah, Following My Intuition, that's the name of the album, coming out Friday in the UK and stuff like that.

Anupa Mistry

Exclusive.

Kaytranada

Yeah.

Anupa Mistry

What does that interaction look like say with someone like Craig David, you guys are in the studio together or are you sending files back and forth?

Kaytranada

It's pretty much that, it's how I work pretty much with most of the artists. I send beats and then some of them don't reply back because they'd rather work in the studio, stuff happens more in the studio. I understand that but me, I get to find more of my ideas when I'm home and when I'm in my own comfort zone. Studio is not really comfortable for me sometimes. It's pretty much I send beats back and forth and they send ideas or either demos, everything around it. I judge it, if it's hot or not. It's pretty much that.

Anupa Mistry

You're the judge of it?

Kaytranada

Pretty much.

Anupa Mistry

OK. I think one of the other things that's drawn people to 99.9% is your grasp of a variety of genres. I think it was an interview with Sway, the radio host, he said that listening to this album made him feel like he was back in the mid ’90s or something like that. What was your reference point for a track like “Leave Me Alone”?

Kaytranada

I don't know, I mean the thing with “Leave Me Alone”, I was really inspired by Afro-house and other songs, I really like the other dances that came with the African music, everything around it.

Anupa Mistry

You mean like modern African music?

Kaytranada

Yeah modern African music, today like Logobi and Azonto all that type of stuff and I really wanted to make that type of music so I could dance to it I guess. That's what inspired me to do “Leave Me Alone”. I have other tracks that have the same vibe but I don't think they're going to see the light of day.

Anupa Mistry

You're very specific about dance music, you've talked about this, I mean music that is for dancing and not music that might just be classified as dance music. Where did you get those ideas from?

Kaytranada

I get those ideas because I guess it was like in me or something. I started with making hip-hop beats. There was a phase in 2009 or something, when I was in high school, I was making pure EDM, all the house, David Guetta was a huge inspiration for a little time. All those songs in 2009 where EDM was starting to get on pop radio and stuff like that, my sister was listening to a lot of that type of music. She wanted a mix as well for her car, so I made mixtapes for her.

Anupa Mistry

What were on those mixtapes?

Kaytranada

What?

Anupa Mistry

What songs were on those mixtapes?

Kaytranada

"No Stress" and stuff like that. I don't know if you know that song, like [inaudible] or something. David Guetta, a lot of... "Memories" with Kid Cudi... Black Eyed Peas, you know when Black Eyed Peas went for electro? I fuck with that. I really liked when Black Eyed Peas turned to... it was really interesting to see them try EDM house, or pop music. It was all that type of music at the time that was something new, or something interesting.

Then I discovered Justice, which was way more different, way more weird, way more greedy raw, some of like how Madlib does it with his beats and stuff like that. Justice was doing house and dance music, very within an art form. I was inspired by that, but that's where all the dance-y stuff came, with the idea of just making dance music. That's where it comes from.

Anupa Mistry

In an interview, you said that the first song that made you cry was "No Woman, No Cry" by Bob Marley, when you were three years old. Do you remember the first song that made you want to dance?

Kaytranada

I go back to memory... I don't know if I remember the first one that made me dance, but... no, I can't really remember. Maybe Lil Bow Wow’s songs, like "Take Ya Home." That made me really want to do the Harlem shake, and all those types of music around 2002. All the hot dances, the right thurr, and the crip walk, and all that type of stuff.

Anupa Mistry

"Crank That"?

Kaytranada

“Crank That”, that was a little later. I was not a fan of that. My brother was playing these songs all the time and those two was doing all the dances, and I knew the dances by heart because of them, because they were doing it in my face all the time. Now, I respect it so much.

Anupa Mistry

Do you have a process now for testing out the dance-ability of your tracks? Do you dance to them? Do you watch other people dance to them?

Kaytranada

Not really. I just think I have it in me. It's just that I feel it in the back... no, no, like the back of my neck, it has to be real... it has to make me feel like some type of way. I have to have fun, too, while I'm making the beat and make it soulful, make it groovy, I'm trying to find, always, the key to what will make me move or what will make people dance at my shows or at any party that's happening. That's why I want to make dance music, I guess.

Anupa Mistry

I want to talk some more about the music you loved growing up, but I also want to play this song to jog some memories, I think.

(music: 50 Cent – “Candy Shop”)

So what was that song?

Kaytranada

“Candy Shop”, 50 Cent.

Anupa Mistry

You guys were laughing. You and your brother were laughing. Why were you laughing?

Kaytranada

We were laughing because when I was eight... I was 12? 10? No, no, I was just getting to high school. Anyways, it was before teenage years, we had the sound recorder in Windows. You could just record sound memos, and me and my brother used the “Candy Shop” instrumental and did the karaoke on it. Just in terms of the fact that we could perform music. It was something crazy for us. We were just recording from the microphone and singing all the lyrics, freestyling over it. We're not saying the words, we were just saying, "[babbles], take you to the candy shop."

That's how we're doing it. We didn't know what we were doing at the time, that's what was crazy about it. We were just recording each other trying to be rappers at the time, trying to be hot or something, but yeah.

Anupa Mistry

Rapping came first for you before making beats.

Kaytranada

Yep. I guess, rapping, but mumble raps. Today it's very familiar, but I used to do that way back, a long time ago.

Anupa Mistry

When did you make the switch to making beats?

Kaytranada

I made the switch when I was 14. I think I was into DJing first. I discovered Virtual DJ. Just seeing my cousin, a cross cousin of mine, was just showing me virtual DJing, just the fact that you could digitally scratch records, I was like, "Oh snap, oh shit.” You could actually scratch samples. That really blew my mind, because you didn't see vinyl ever in my life. I didn't have a turntable. My dad left the crib, because my parents got separated so we didn't have the accessible turntable, none of that.

Just seeing the fact that my cousin was scratching digitally, I was so interested to just try to mix. I was digitally mixing on VirtualDJ and then I learned about looping drums, looping samples, and then you just combine that: it just makes a whole brand new beat. I was like, "Man, I can make my own beats." I just had to control it. I didn't want to use drum loops for the rest of my life.

My brother introduced me to FruityLoops, bunch of times, I installed and uninstalled over two times because I didn't know how it worked, and then my brother was like, "Man, you just have to do this like that, that, that." I was like, "Oh, OK." Then I could start making beats from there. I was 14.

Anupa Mistry

What did those beats sound like?

Kaytranada

Those beats sound like pretty much... I think the first beat I remember was some trap, like very hard drums and normal stock sounds, very... experimenting. I wish I had the beats with me, but, damn, I have them sitting at home. I wish I could have showed you.

Anupa Mistry

Are you still using FruityLoops now?

Kaytranada

Yeah, sometimes.

Anupa Mistry

Do you want to tell everyone what you're using?

Kaytranada

I'm using Maschine now. That with FruityLoops, but FruityLoops is pretty much for sampling. It's much easier. With Maschine, I guess I just learn about the new updates. I use FruityLoops less now, but yeah.

Anupa Mistry

We were jamming a little bit earlier, playing the drums, and you had a piano at home growing up. Are there any other instruments that you play?

Kaytranada

Not really. I didn't play other instruments, other than piano. I wish I did. We all wanted to play different instruments, and everything and all that, but I guess we couldn't get the money for it. My dad really bought a piano for Christmas once, and we were like, "Oh, snap, we got a real piano." It's not just a keyboard, an electric keyboard, but yeah. It's just that our teacher at the time was not teaching us how to play, he was teaching us to play songs and not the techniques, and I don't think he was doing the right lessons and stuff, was just only teaching us how to play songs. Everything around it, reading the music and all that, we didn't get to learn that. That's why I didn't like piano for a while when I was young and I hate myself for that. I'm like, "Damn," but I guess we couldn't pay for piano lessons anymore, because we didn't have the money. My parents was going through a lot. That's how we stopped playing the piano.

Anupa Mistry

Would you take piano lessons now?

Kaytranada

Hell yeah, I would, but the thing is, I went back to learn piano when I was like, 18 years old. I had a little small class, and my mom was paying for it, and then my mom couldn't pay for it any more, so I'm like, "Damn," but it's life, I guess.

Anupa Mistry

Something you talk about… we can get into this when we play some of your remixes, but you've kind of talked a little bit about, I guess, not wanting to only be known for your remixes. Do you see a difference between someone who is a remixer and a beatmaker? Or, how would you describe that?

Kaytranada

I guess a [pauses]... a remixer, I feel like they would just get known by doing remixes, and when they make original songs, they would like… people would care less. That's how I feel about it sometimes, but I don't know. Maybe I'm tripping. I was tripping at the time when I was saying, "I don't want to be known as just a remixer," because I was dropping original music and people were not paying much attention. I kind of got pissed about that, because I was making music for a while before the Janet Jackson remix dropped, or the Teedra Moses remix dropped, but there's not a big difference as long as you work your way through out of it. Instead of… you can just continue to make original songs and original songs and people might forget it, pretty much like I did with my album. I'd just dropped the album and nobody sees me. I don't know. I really don't know how to explain it, honestly, but yeah.

Anupa Mistry

Do you listen to the remixes that people make of your music?

Kaytranada

Sometimes. Sometimes I do, like…

Anupa Mistry

On SoundCloud? Do you search?

Kaytranada

I don't search on SoundCloud, but when I'm on my Facebook, I see, like… I add anybody. I used to have… I have over 3,000 friends on Facebook, so I see a bunch of random people just posting their music on SoundCloud, then I see my remixes. People remixing “Light Spots” or whatever song I did. Some songs I'm impressed, some songs I'm not, but yeah.

Anupa Mistry

How does it feel to be on the other side of the remix?

Kaytranada

It's crazy. It's still crazy that people get the chance to see something different than I've seen, and just not be afraid and show it. I think it's cool.

Anupa Mistry

We'll get into the remixes in a little bit, but I think, we're here in Montréal, this is some people's first time in Montréal, and maybe we can set the scene a little bit. You were born in Haiti, but you moved here when you were only a few months old, and you don't actually live in Montréal, you live in a suburb just outside of here called Saint-Hubert Did I say that right?

Kaytranada

You said that right.

Anupa Mistry

Yes! Can you tell us what it's like there?

Kaytranada

It's a calm neighborhood, it's pretty calm. I love it here, living there. Nobody bothers you, nobody knows where you are, so it's pretty calm and you get, like… it's mellow. I love it. I don't know when I'm going to leave this Saint-Hubert town, but it's pretty cool. I love it. They have everything you want, too, but it's just more mellow than it is in Montréal. Montréal is overcrowded. It's not that overcrowded, but you know. It's the suburbs, you know?

Anupa Mistry

When you were a teenager and you're into music, you're learning how to DJ on VirtualDJ. How did you explore that? Is there anywhere in Saint-Hubert to go to listen to music, or… I guess you wouldn't have been buying music. Probably would have been downloading music, but yeah, can you go hear live music anywhere?

Kaytranada

My parents were very strict, so I couldn't go nowhere. I couldn't listen to music. I listened to whatever. Nobody was listening to what I was listening to, so it was hard to find something that kind of matches what I was listening to at the time, in Saint-Hubert even. I couldn't go out since I was like, 19 years old. The first time I discovered the Piu Piu scene and people listening to Madlib, and all the beatmakers, like Samiyam. All my favorite beatmakers like Flying Lotus and all that. They were all listening to that type of music, and there were a lot of musicians making the same type of music as I was, so it was sort of a relief to find that in Montréal.

Anupa Mistry

You went out before you turned 19, and you found this scene, the Piu Piu scene?

Kaytranada

Yeah.

Anupa Mistry

Can you tell everyone here specifically what it is?

Kaytranada

The Piu Piu scene is the beats scene. It's kind of like the same thing that was going on in LA like the Low End Theory stuff, where there was only, like, weird but crazy beats, experimental, whatever you want to go with it. Sampling and all that. It was just something fresh and new and Montréal for sure. That night, I did my first gig, I guess, at the Artbeat Montréal, that's where the Piu Piu scene started. Artbeat Montréal is a collective… they always make those events to bring producers from Quebec or anywhere in Canada, bring them into one spot and just show each other the beats, you know?

Anupa Mistry

Who are some of those producers?

Kaytranada

Some of them were KenLo, High Klassified, Da-P, but there were so many, a series of them, because there were so many producers, you know? I met a lot of people over there, so it really got… it really broke through, for me, broke through a lot so I could see that there's other musicians out there making… using FL Studio, you know, and doing the same/similar beats as I was doing at the time.

Anupa Mistry

Where did you fit in? I think in an interview you've kind of talked about the different levels of Piu Piu?

Kaytranada

Yeah.

Anupa Mistry

Maybe break down the different levels, and then talk about which level you were on.

Kaytranada

I don't know, I guess I was on level One. Level One is just… I was… how can I say that? This Piu Piu thing was like, everybody was looking for the meaning of it, so nobody knew what it really meant, but the guy who invented it named Vlooper he's from Quebec City, and he's like, "We make Piu Piu music, and it's just real live and direct, we're making Piu Piu music, and that's it," but a lot of people took that Piu Piu meaning and flipped it around so it has a lot of meanings. Everybody was just explaining their own… what they felt about Piu Piu. It was kind of starting to get confusing, so I didn't know what to say sometimes, like when they interviewed me for that documentary that they was doing at the time, I was saying Piu Piu Level One is just normal beats, just sampling, and Piu Piu Level Two is just between the smooth drums and hip hop, whatever, with experimental sounds, and Piu Piu Level Three is just the craziest you can get with … the more creative you can be as a beatmaker, and that's how the Piu Piu was seen for me at the time, but now I don't see it that way. It's just a community, a family in Montréal that was just making beats.

Anupa Mistry

You mentioned Low End Theory. In LA there is also Soulection and HW&W, there's all of these different kind of beat scenes or collectives that were kind of growing at the same time as this one. What do you think Montréal was doing different from those scenes?

Kaytranada

I think Montréal, what they were doing different was the fact that they represented Quebec to the fullest, and there was French rap over it, and that really sounded fresh. It sounded dope, like this group named Alaclair Ensemble was pretty much the ones who came up with the Piu Piu sound and they came up with the raps and everything. Postrigodon, that's what they call it. It's pretty much like… you're probably gonna hear a Madlib influence in there, but they rap with pride, with a Quebec accent and all that. It sounded dope. It was really something creative. They were dropping albums for free, and that built their fan base, just the fact that they were dropping their stuff for free, and they're mixing so much good music. I was really influenced by them.

Anupa Mistry

I want to play a song that I was told was the biggest song in Montréal, around that time, and it's your song.

Kaytranada

Throwback...

(music: Kaytranada – “Holy Hole Inna Donut” / applause)

Anupa Mistry

That was your song.

Kaytranada

For Kaytra Todo.

Anupa Mistry

What year did that song come out?

Kaytranada

2013.

Anupa Mistry

It's called?

Kaytranada

“Holy Hole Inna Donut”.

Anupa Mistry

Is that Piu Piu?

Kaytranada

It's Piu Piu, but it was after the Piu Piu thing was going on. The guys High Klassified, Da-P, they all brought the trap in Piu Piu. Like the Southern bounce, 140 bpm type of stuff. They influenced me on that, to just drop… to make trap music. They were doing it differently as well, not just … I was really not into none of this trap music, none of these trap tracks, like Gucci Mane and everything. I was really closed minded at the time. I don't know why. It really opened my eyes. I didn't know there was so much bass on it, too. It's weird why I was close minded to it, but it was the freshest thing at the time. There's so many parties made for that, too. It was the craziest thing. It was fresh and new. It was really when the trap thing was happening as well, in the beginning, in 2013, 2012.

Anupa Mistry

Maybe you weren't so into it because you were more into R&B?

Kaytranada

No, I was more into beats. Dilla and stuff like that, hip-hop. R&B as well, and disco, and that was the only thing I was into.

Anupa Mistry

We've got to listen to it. I think we have to listen to the song.

Kaytranada

For sure.

(music: Janet Jackson – “If (Kaytranada remix)” / applause)

Anupa Mistry

That was your remix of Janet Jackson's “If”.

Kaytranada

Yes it is.

Anupa Mistry

How did things change for you after you made that song?

Kaytranada

Everything changed after this remix. Everything.

Anupa Mistry

What was the first thing that changed?

Kaytranada

The first thing that changed was my SoundCloud followers. I was at 3,000 followers. I was already stoked to have 3,000 followers. Overnight… I made that at 4 or 5 AM, coming from a Flying Lotus show and I was so inspired. I think at the time, I was like, “Kevin, you need to stop playing. Be creative and be your own sound,” because I was copying Dilla, Madlib, trying to imitate them all the time. For some reason, I don't know what really pushed me to do this remix, and why did I make it house-y? Before, this beat was very like, 90 bpm, very slow, very like [beatboxes], something like that. I tried to put [inaudible], old stuff, I added the swing and for a house-y beat I'd never heard that before, in some way. We don't get to hear it that often. I guess, for me, it was like, “This is the flyest ish ever.” I was so confident that it was the flyest shit ever, at the time. It's just the fact that it sounds so new and so fresh and all those up-tempo R&B, whatever, neo soul, kind of felt that way, and then I just posted it on SoundCloud, because I was like, “You know what, I'm just gonna do it.” And then I slept, at the time I was sleeping at 4AM, 5AM, and I would wake up at like 4 in the afternoon. That was like the times I was sleeping late. Then, I was getting a bunch of notifications, you know like notifications on the iPhone was on, so I was just getting non stop notifications, “like your sound, like your sound, like your sound, blah, blah, like your sound,” on SoundCloud. I was like, “What is going on right now? Is my remix blowing up or something?” Then I see that I get more likes than usual. I was like “Oh snap! This is crazy.” Then went back to sleep for 4 more hours, and then woke back, again, then I see even more likes. I realized that it was this Majestic Casual, yeah, Majestic Casual, and some other account named Tiffany Zoo, or something like that, they were just posting stuff on their YouTube channels, and they had a lot of subscribers. That kind of made me big.

I didn't get to upload, I think I put the "Lady" remix, the Modjo "Lady" remix after that, then I stopped doing it for a while. Then for some reason I was working the Teedra Moses "Be Your Girl" remix for like three months, because I didn't know the right snare, or whatever, the right claps or whatever, I couldn't find that. So I just sat on it. Until February. Then I dropped that and it was like another banger. Like "If". I was like, “OK, this might be it, this might be the time. I guess. This new sound, I'm going to run with that.” Try to come up with some new ish, I guess, so. I guess the uptempo R&B-ish was kind of like, hot at the time. Very fresh, very new and a lot of people was inspired to do it.

Anupa Mistry

Is that track still important to you, after all the other stuff you've accomplished since putting out "If"?

Kaytranada

To be honest, it is a very, very, very important track. If I don't play it in my sets, the fans are going to be so disappointed. It's the last song I always play in my sets. I can't deny the fact that like, this song is a hit for people, the song that people will lose their minds to. Me, I don't see it. I think I've made better productions of course, but I guess this is the one that people like the most. I guess I'm going to run with that for the rest of my life, but it's okay.

Anupa Mistry

It is the song that had Madonna calling you, and Janet's people calling you…

Kaytranada

Yeah.

Anupa Mistry

Who else called you?

Kaytranada

Madonna, and Janet. Janet called me, yeah. Madonna called me, I guess Madonna called me because she heard other stuff like “Leave me Alone” and all the other stuff with it. Who else called me? I don't know, I can't remember who else called me.

Anupa Mistry

Someone called you recently, Andre 3000?

Kaytranada

Yeah.

Anupa Mistry

From Outkast. You were in the studio with him this past weekend?

Kaytranada

Yeah. I don't think that's the song that caught him, but he's…

Anupa Mistry

It's been five years.

Kaytranada

He told me he really liked how I program my drums, I guess was more of a swing, he knows the swing and stuff. Even when he raps he has the swing. I think when you have the swing, and you recognize... swing recognize swing. If you're a rapper, you know you got like this funky, bounce, whatever, in how you perform it. You know, like Anderson .Paak does it. You are definitely going to click. I think, there's not a lot of rappers that way. Andre recognized it, Anderson .Paak recognized it and there's much more as well. Mick Jenkins. My bro as well, Lou Phelps. A lot of, you just have to recognize swing pretty much.

Anupa Mistry

Swing recognize swing.

Kaytranada

Swing recognize swing.

Anupa Mistry

Hashtag swing recognize swing.

Kaytranada

Yeah.

Anupa Mistry

These people who we all know have called you or have wanted to work with you, but there are some people you've worked with, and they've worked with you, you guys have done stuff for each other's records. One of them, or I guess a few of them, is The Internet, and specifically, Syd Tha Kid, let's listen to one of the tracks that you worked on from The Internet album called “Girl”.

(music: The Internet ft. Kaytranada – “Girl”)

How did you guys make that song?

Kaytranada

I sent her the beat and she sent me the... (laughs) pretty much like I sent her the beat and she, they did their thing on it. Yeah. That's it.

Anupa Mistry

How did you connect with Syd and the Internet? How did that happen?

Kaytranada

I connected with Syd and the crew in Croatia. That was at Dimensions festival. There was a huge storm going on and I didn't get to play my whole set. 15 minutes and it was like, storm just shut down the whole festival, so we had to stop it there. They were in the background like, "Yo, you just shut the whole festival down!" That's how we connected pretty much. Before that they were following me on Twitter…

Anupa Mistry

And SoundCloud.

Kaytranada

Yeah, of course. To me it was like, mind blown, wow. I'm a fan of The Internet, so it was huge. Pretty crazy.

Anupa Mistry

Why is that relationship important to you?

Kaytranada

Because Syd is like one talented motherfucker. You know? The whole Internet crew they have so much soul and there's not a lot of bands out there that has soul like them. Nowadays it's not really common to find that. Pretty much, Internet has their own sound. It's sick. It's just sick. It's music that connects people together and that's what happened.

Anupa Mistry

You guys share common influences too? Like The Neptunes, and…

Kaytranada

Yeah, The Neptunes for sure, like N.E.R.D and all that. Yeah.

Anupa Mistry

You're also, a big fan of Dilla and Madlib, we've kind of talked about that too. I want to talk a little bit about why you love Karriem Riggins though.

Kaytranada

He's funky man, he's really funky. He's like a sick drummer as well.

Anupa Mistry

He played drums on this album for you.

Kaytranada

Yeah, “Bus Ride”, which I did with River Tiber as well, you know, in the house. Yeah, make some noise for River Tiber there. (applause) Yeah. We made that joint together. Yeah. It's crazy.

Anupa Mistry

What makes Karriem's drums special to you?

Kaytranada

Because he makes beats as well, a lot of drummers don't; just play drums and that's it. He I guess put the snares as loud as he can and asked the swing that we need and all that. It's pretty much that.

Anupa Mistry

OK let's listen to another producer, two artists actually that you really love. A song that we both love, that we talked about loving.

(music: Erykah Badu – “The Healer”)

Kaytranada

I get the chills. Whooo! Madlib and Erykah Badu “The Healer”, that's like one of my favorite songs man, like for real. It's my favorite artist as well.

Anupa Mistry

Why is it one of your favorite songs?

Kaytranada

I don't know, when I first heard it I'm like, “Woah, the beat is banging,” you know? The fact that an R&B singer could just sing on hip-hop beats, it's always an amazing thing. That's why I love Mary J. Blige so much and that's why I love Erykah Badu so much. It's just stuff that bangs, like hip-hop stuff but you know, it adds a twist to the R&B I guess.

Anupa Mistry

That song is dedicated to Jay Dee.

Kaytranada

Yeah, pretty much.

Anupa Mistry

It's everything that you love.

Kaytranada

It pretty much defines what I am, basically.

Anupa Mistry

When did you first get into Dilla?

Kaytranada

I got into Dilla because of A Tribe Called Quest and I discovered, right after he passed away of course, but I was listening to his productions without knowing him, knowing it was his beats. “Find A Way” is my favorite track from Tribe and I didn't know he produced it at the time and I was like, “Oh.” In 2006 I remember everybody saying like J Dilla passed away and I'm like, “Who's J Dilla?” I feel so stupid to say that but I was like, “Who is J Dilla?” I just did my research and then found that he produced The Pharcyde and Tribe and you know. Who else did he do? He did [Do the] Bus A Bus of course.

Anupa Mistry

Slum Village.

Kaytranada

Slum V of course, yeah, Slum V. How can I forget Slum V? You know, so many artists that he produced I was listening to and I was like... I only knew Just Blaze and The Neptunes at the time so, yeah.

Anupa Mistry

I think the interesting thing about Dilla too is that he was able to do all that heavy kind of music nerd stuff but then also do a song like “Vivrant Thing”.

Kaytranada

Yeah.

Anupa Mistry

By Q-Tip.

Kaytranada

Yeah, club bangers, he would do whatever he wanted to. One of his latest tapes before he passed away in 2005 called 64 Beats, whatever, it's only club bangers, you know? Probably made for Busta Rhymes and all those types of artists and it bangs so much. It's so crazy, it's just that it's club bangers but he's slipping samples as well. That kind of influenced me and it still influences me to this day to just flip samples. But make it hot at the same time, not only traditional boom bap joints, you know?

Anupa Mistry

You just went to Brazil.

Kaytranada

Yep.

Anupa Mistry

For a few days and you went shopping.

Kaytranada

Yep, I was shopping.

Anupa Mistry

You brought some stuff to play for us.

Kaytranada

Yeah.

Anupa Mistry

Speaking of sampling.

Kaytranada

This is not the only thing I bought of course but, I had to come back with luggage. But yeah, there's a lot of stuff I discovered that I eventually flipped recently.

Anupa Mistry

Why did you want to go to Brazil?

Kaytranada

I mean I always wanted to go to Brazil because I was, you know I'm a Madlib fan and Madlib did a lot of mixes, Brazilian music, with only Brazilian music and to me it's like folk, rock, psychedelic and not disco but samba, bossa nova. All that type of jazzy stuff that comes from Brazil. I don't know, there's something about Brazil that sounds gritty, sounds raw and like straight to your face and so soulful. Way more soulful and way more progressive then soul music. I don't know, it kind of touched me in my heart. Like, “Damn, those musics are so soulful,” it makes me cry, or I don't know, it's crazy. It's just the best type of music that I could find. Since I discovered Madlib when I was younger, that was another thing that kind of like opened the door for me to just hear all the types of music. Which is like Brazilian, MPB from the ’70s and all that type of stuff.

Anupa Mistry

Like Madlib is really the one who inspired you to start digging, looking for samples?

Kaytranada

Yeah.

Anupa Mistry

Even on YouTube and stuff.

Kaytranada

YouTube of course, everybody goes to YouTube in some way. But the fact that I was in Rio and they gave me this... I went to this thing called Supernut or whatever. Supernut Records, something like that, and it's appointment only and I spent like 10 hours in there. My brother kept calling me like, “When you coming back? When you coming back?” I really spent the whole day just trying to listen to records, trying to discover something new, trying to discover more stuff to sample or just stuff to listen to pretty much.

Anupa Mistry

OK, so show us what you found.

Kaytranada

I found Milton Nascimento, you know it's pretty stupid of me because I was always, he was always for me overshadowed by Marcos Valle and Edu Lobo and Gal Costa and all those people, artists. But Milton Nascimento is like this record that I found, he's pretty popular. But to me it's like, when I heard that on the record. As you can see the record is, it's the bomb. How it's packaged but, yeah. It's really dope and it's quadraphonic, quadraphonic but it's surround sound. It's only stereo, but it's pretty dope.

(music: Milton Nascimento)

Alright I'm going to show this other track that I flipped recently. I'm going to show you the set fold. Yeah. I'm going to show you this beat that I flipped recently. No it's not that one.

(music: Kaytranada - "Untitled Beat")

Thank you. Yeah man, so that's what I did when I came back home. Brazil. Listen to all those records and trying to make a little tape for myself, you know.

Anupa Mistry

Kind of like a Beat Konducta thing.

Kaytranada

Yeah I'm very inspired by the Beat Konducta himself, so Madlib, yeah. This record I forgot to bring it but it's pretty much a dope one. I wish I could show you the original sample but yeah, it's pretty dope.

(music: Kaytranada - "Untitled Beat")

Yeah, yeah, yeah. That's what I do.

Anupa Mistry

What's black tropical house?

Kaytranada

Oh, black tropical house is the 99.9% sound I guess, honestly black tropical house I came up with that tweet just to prove a point. Everybody's like, "What type of music you're doing? Oh, what do you think you're doing?" I guess black tropical house. I come from Haiti, very Caribbean influences, everything I do has percussion I guess. I took the Kygo meaning and flip it round... Kygo is the guy who makes the tropical house, as we call it, mainly. I put a flip on it to say black tropical house because my stuff is pretty black music sounding. I don't know, I don't want to make it a race thing. There was a time when it was called black music, I took that from the ’70s and made it black tropical house because my stuff has more swing to it. It cannot be only house music, there's swing and soul in it. I guess the black tropical house meaning comes from that. It's just some stupid tweet I wrote, honestly. It was just to prove a point.

Anupa Mistry

I was also reading that you and Matt Martians from The Internet were talking about what it means to be black men making the kinda music you make, or maybe specifically making house music. Do you wanna talk about that a little?

Kaytranada

Yeah... 'cause I guess... with the type of music I'm making it's more like, it comes from... I don't know, it's weird to explain that. House music, you see the most known house DJs are white people, white DJs, stuff like that, and that's how it is but just the term that the fact, because of a genre, you have made a certain type of music. Even growing up like, being black, people would look at you weird because you're not listening to hip-hop or... you're into emo music or whatever. You wouldn't see a black man listening to that, because that's what society made it seem but at the end of the day it's just music, you know? It's only music. You see N.E.R.D making pure rock music that has a little soul, R&B element but it's mainly rock, you know. So... I guess that's the best example I can give to you. Matt from The Internet said it's hard for us to be, as black musicians who're supposed to make hip-hop and stuff like that. It's not true, at the end music is music. I guess society, while growing at the time made us seem that you can only make that type of music, you know. Which is whatever... I talk too much, I don't know what I'm saying.

Anupa Mistry

You mentioned the Haitian music you listened to in the house growing up and I wanna give people a sense of maybe what that sounds like and you can introduce this song, 'cause you know what it is.

Kaytranada

Kassav...

Anupa Mistry

Should we play it first?

Kaytranada

Yeah, it's the hot ish.

(music: Kassav – "Zouk La Se Sel Medikaman Nou Ni" / applause)

Kassav "Zouk La Se Sel Medikaman Nou Ni".

Anupa Mistry

What does that mean?

Kaytranada

Music is the only medicine that we need, something like that. I'm sure they mean zouk. This song is very... family reunion, if you don't play that song something's wrong with you. Every party I've been to growing up they play that song, I really love that song. It's one of my favorites.

Anupa Mistry

Can you tell people what zouk is?

Kaytranada

Huh?

Anupa Mistry

Can you tell people what zouk is?

Kaytranada

Zouk is this genre, ballad-ish, probably inspired by... around the Caribbean and Haitian music. I guess has a flip of French in it too. It's only like, I thought it came from Haiti at the time because it was just, my dad and my mom used to play that a lot. It's from the Caribbean mostly, it's ballads pretty much.

Anupa Mistry

Then there's also kompa, which is also Haitian right?

Kaytranada

Yeah, kompa is pure Haitian music.

Anupa Mistry

What's kompa?

Kaytranada

Kompa is the same drum pattern, Sweet Micky, even Wyclef, you hear Wyclef albums, he always has a kompa song in it. It's pretty much like the most manageable thing for Haitians. It's like the go to music for Haitians.

Anupa Mistry

What does it sound like?

Kaytranada

The same drum pattern like [beat boxes], it's sort of like not reggaeton but has the same vibe [beat boxes]. It's always over 15 minutes too. They made over 15 minutes too for you to get yourself a girl to dance to on the dance floor you know, to get yourself someone to dance to, pretty much for that. It's the go to music for Haitians.

Anupa Mistry

This is what you were listening to in your house growing up?

Kaytranada

Yeah and you know, honestly, it was so in my ears all the time. I was so like, "Enough, enough." I respect it today but at the time growing up I was not into it at all because it was too much of it. My dad was like, "Listen to it, listen to it." I'm like, "No dad, I want to listen to rap, I want to listen to Jay Z, I want to listen to Dipset." My dad was like always complaining for us not to listen to kompa and to listen to hip-hop instead.

Anupa Mistry

What do you think you took from that music to your music today? Like a song "Lite Spots," on your album, sampling Brazilian music, are there any other Haitian references on 99.9%?

Kaytranada

There was supposed to be like... let me play this song, that was supposed to be on the album but they didn't want to get the sample cleared. It was very Haitian influence, I cannot really think of this 99.9% song that is like a Haitian influence. A bunch of them, even "Leave Me Alone" is Brazil, Africa and Haiti all in one to me. It's pretty much that. I'm playing a song that has, that was supposed to be on the album. It's a dope one, yeah they changed, it's not nice. Let me find this one, breezy.

(music: Kaytranada - "Unknown Song" / applause)

Thank you, thank you.

Anupa Mistry

What was the song you sampled there?

Kaytranada

Yeah this song is called, that I sampled is called [inaudible], which means “Little man, respect yourself.” It's a banger, it used to be a banger back in the day in Haiti. I guess there was like, when I heard that sample recently I was like, there's so many dope elements that they were using. I guess those drum sounds, the drums and all that. It was using it the Haitian way, you know? So different. I was mind blown by that. It was really funky as well and I wanted to try and flip that and trying to make a little tribute to myself listening to kompa music. It didn't make the album because the sample didn't get cleared and they didn't like what I did with the beat. That's what happens when you sample a lot.

Anupa Mistry

OK, I think it's time for some questions from the audience. Thank you for that. (applause) We're going to take some questions.

Kaytranada

OK, for sure.

Anupa Mistry

Oh yeah and we need a mic, sorry. Is there a mic?

Audience Member

Good evening.

Anupa Mistry

Hi.

Audience Member

I wanted to know if you heard the album Seeds by Georgia Anne Muldrow and what you think of it both musically and conceptually.

Kaytranada

I think it's a dope album. The funny story about it is that I met Georgia Anne when she was in Montréal giving signs for the album at Off The Hook. I was like so happy to meet her at the time, it was back in 2012 when it came out. I had like zero dollars on me, I was like, "I really want to buy the album." I was talking to her, she was doing meets and greets over there and I was talking to her, and I was telling her, "I really want the album, but I don't have money." She was like, "It's only $15." I was like, "I'm really broke right now. I'm really broke." Then, eventually, she gave me the CD autographed, signed, and she said, "Stay humble. Be powered, be enlightened." Took care of it and whatever, and I'm like, "Damn, man, she really gave me a signed copy of the Seeds album." And yeah, it's a dope album, and the way it was mixed is very weird, how it was mixed. Even if you put the bass too loud, it's going to be how it should be. I don't know. It's a weird science on that mixing, how that one was mixed. Anyway, very good album.

Audience Member

Thanks. Yeah, I think she's really underappreciated.

Kaytranada

For real.

Audience Member

Yeah, thank you.

Kaytranada

She's a dope producer as well.

Audience Member

Hey. What was the first song you ever sampled?

Kaytranada

First song I ever sampled? Earth, Wind, and Fire, “September”. Yeah, I made a little banger, a little house banger at the time.

Audience Member

Do you still have it?

Kaytranada

Damn.

Anupa Mistry

He's asking like you knew.

Kaytranada

I don't know if I have it, but I wish I did.... oh, did Jackson look in through the windows?... "No One Can Judge Us". The jazz joint? Mr. Scruff, whatever? No, it's not Mr. Scruff, but I don't consider that as the first sample, because I don't remember… I don't know. I pretty much like [singing] but whatever. That was like… OK, let's say that Earth, Wind, and Fire was the second sample I ever did.

Audience Member

Wait, how old were you when you made that? The first sample?

Kaytranada

I was 15. My first sample.

Audience Member

What up?

Kaytranada

What up, man?

Audience Member

Just a quick question. Just wondering, you probably get a lot of music from other people who make music like you, and you probably get a whole bunch of stuff in your emails, and I wanted to know, is it an interest for you to build a team or something in the future?

Kaytranada

Yeah, of course. I always had this idea to build this record label, and a lot of music that I discovered that is not known, I want to put people on the map sometimes. I like to work with people that are not super known sometimes, and it can be challenging. I already did that in my career, and I think it's dope, but later on, when I'm going to be, I guess, older and settle down or whatever, I'm probably going to try to open a record label for myself and for the people I'm trying to put on it. I'm already trying to do that with HW&W Records, in some way, but it's harder than it is, but… to just discover somebody, it's really hard. You've always got to keep your eyes open. One day, one day.

Audience Member

Hey man, thanks for coming in and speaking with us today. My question is, how have you found sampling change in the way that artists find samples, and the way that artists use samples now, from when you started producing to the last records you just bought in Brazil?

Kaytranada

What was the question?

Audience Member

How have you seen the use of sampling change over time, essentially?

Kaytranada

I don't think it really changed. I think it's like, at a time when I first discovered sampling, I didn't know about chopping samples, I guess. That's the only thing that moved on to another level of sampling, and just chop samples and try to create a new melody out of it, like Dilla does it on Donuts, like how he did “Airworks”. I don't know how he flipped that. At the same time, the way I, I guess, sample stuff, sometimes it can be challenging. Like, I would love to take off the vocals, so I get to EQ some stuff a lot so that I won't hear vocals any more, and it's like a science around the stereo type of sounds, you know? I don't know. It's a weird way to explain that. When you play with the stereo and the left and the right sometimes, you get to hear the background of the music.

I don't know. Example, like, “Wanna Be Starting Something”. When I was young, I discovered that with my brother. We had broken headphones, and we were just playing Thriller off the CD player, the CD Walkman, and just because the headphones were kind of broken, you could only hear the shakes and the bassline, and just the background vocals of it. [singing] You just hear… you don't get to hear the vocals, like the main vocals, so it's a weird science sometimes, the stereo thing. That's what I discovered, and that's how I sample my stuff as well sometimes. I guess not everybody knows that, but it's a weird way to explain it, and I wish I could show you, but it's going to take me a while.

Audience Member

Cool. Thank you.

Audience Member

Hi. I was wondering, what do you think of funky in Brazil, you know, baile funk, or how… it's known by so many names. I don't know how to call it, but I find it so interesting the way that the Brazilian people got this Miami bass music and early hip-hop and stuff, and they kind of made it their own with the tools that they had available. And I was wondering, for you, being of Haitian descent, and Canadian, kind of being a bit outside the mainstream American hip-hop world, how do you feel about incorporating the different sounds in relation to that kind of Brazilian music also. If you like this music, if you feel like there's a connection between what you do and what they did back then?

Kaytranada

I think they do it differently in some way, but I can feel like there's a lot of elements that is kind of similar at the same time. Baile funk probably used, like… I don't know where they found their [beat boxes] they probably recorded it themselves, or chopped it themselves, or just recorded it and added bass to it. Just the fact that it's a rhythm that is very diverse and… I don't know. It's pretty similar, pretty much. They use their own voices, and they sample their own voices and they just added a bassline to it, but yeah. Compared to my sound or the Haitian sounds, I think in Haiti, there is a sound that is more for clubs, except the rara movement and the house music, which is sort of similar to the house music… tropical house, I don't know. That's how I feel about it. Any more questions?

Audience Member

I just had a question. The first song of yours that I really loved and stood out to me, it was obviously a little later in your career, was “At All”. One of the things that really caught me off guard with it was how it really goes through so many evolutions, and it has a lot of progress. When you're making music, is that something that you're thinking consciously about? About being like, "OK, I want to make sure that every so often, I'm totally shifting the direction of the song," or is it something that's just sort of organic and happens as you flow through the production?

Kaytranada

I guess it happens organically, or something like that, because I guess I don't want to make it… if I made “At All”, and it would just be a loop over and over, it wouldn't be that interesting, so I just love to add a little twist to it, or something like that. Even the evolution, like adding chords and adding basslines instead of using the sample as a bassline could be more interesting. For me, it's like, it's pretty important to just … How can I say? It's really important for me to not just do a loop of sampling, and just add a little twist to it, and make it more of a song than just a thing that you can easily remix or something like that. Trying to trick people before they do it, something like that, but yeah. That's how I see it.

Audience Member

Hi.

Kaytranada

What up, man?

Audience Member

Not much. How you doing?

Kaytranada

I'm good, how are you?

Audience Member

I don't really have any questions. I just wanted to say hi.

Kaytranada

Cool, cool. How you doing?

Audience Member

I be good.

Kaytranada

Cool, cool.

Audience Member

How's it feel overall? Everything that's happened over the past few years?

Kaytranada

It feels great, it feels great man. A lot of fans, you know. It's crazy. It's wow.

Audience Member

That's all.

Kaytranada

You just…

Audience Member

That's all. We'll talk later.

Anupa Mistry

You actually just won the Polaris Music Prize.

Kaytranada

Oh yeah, oh yeah I did. Cool. Thank you.

Anupa Mistry

You're the first black artist to win the Polaris Music Prize in the prize's history, which has been kind of a thing that we have talked about here in the Canadian music industry for a while. In general though, how does it feel to be recognized with something like that?

Kaytranada

It feels great, because, yeah, it feels great because, to be honest, how the Canadian music scene was seen, it was just like … I don't want to say I have nothing against folk music or anybody playing, doing like country and stuff like that, but Canada, it was only the type of music that would be on the radio. Rap music would be less played, or whatever, and your house music or electronic music. To be recognized by the Polaris as art, as well, it's pretty crazy. You would probably expect something pop to win, or something country or rock or hillybilly or rock & roll or something like that, you know? To me it's like, yeah it's good because they finally recognized R&B, house, rap, all in one.

Anupa Mistry

Actually a lot of different genres all in one album.

Kaytranada

All in one, exactly. So. It's pretty crazy to me that they recognized it.

Anupa Mistry

Earlier this year you called the Canadian music scene out of touch though.

Kaytranada

Yeah.

Anupa Mistry

You tweeted that.

Kaytranada

Yeah, I did.

Anupa Mistry

That was because of a nomination for the Juno Awards being disqualified.

Kaytranada

Yup.

Anupa Mistry

Do you still feel that way now that you have your award?

Kaytranada

I mean, less than I used to I guess. You know. The reason why I said that is just the fact that they recognize “At All” like in 2015, or 2016? 2016 right? Yeah, it's 2016. The fact that “At All” came out in 2013, and this is three years later they recognize it? As a single? For me, they could have used "Leave Me Alone", they could have used "Drive Me Crazy", that came out 2015, you know, but they used “At All”, because “At All” has a music video from like then. It's like, why would they put in on 2015 and then say, “Oh, my bad, false alarm.” To me it's like, why is it in 2016, or 2015, that you recognize “At All”, when it came out in 2013? Know what I mean? That's why I feel like it's out of touch. Because they would nominate only like big names, big names without even listening to the music or something like that. I feel like it's more a popularity contest like Grammy's there, you know. That's how I saw it. I hope they see it differently now, because I just did that weird rant on Twitter. The out of touch thing.

It was just to prove a point. I don't think I'm the only one feeling that way, of course. I've been talking to people over the years about how the Canadian music scene is. That's how I see it. Yup.

Anupa Mistry

Are there any more questions? Yes.

Audience Member

Hi.

Kaytranada

Hi.

Audience Member

Congratulations on the Polaris.

Kaytranada

Thank you.

Audience Member

Now that you've won an award and more or less gotten a wider recognition throughout the country at least, do you feel the need to one up yourself in your next work? Or do you just let your music carry you away where it wants to go?

Kaytranada

It's pretty much like I let the music carry me where it wants to go.

Audience Member

Regardless of the award?

Kaytranada

Yeah. To me, I always, I still plan to do a second album, trying to elevate, trying to be better at what I do everyday. Organically, I let the music, I'm not trying to force myself to do this or do that. Sometimes I do, but when I do that it's always [going to] fail. It's always like, it turns out to not be the best thing. Now I understand that you have to be organic, and if inspiration can't be here, you cannot force it. Because it's going to be wack at the end of the day. It's not going to be good. It's better to let the music, carry it away.

Audience Member

OK. Do you feel the pressure of winning an award and feel like everyone has this kind of expectation of like what are you going to do next that will blow their mind, or something like that?

Kaytranada

I don't know. I don't think it's going to really change, I guess? The way, I don't know. To me it's like, it's so hard to explain. I won't let an award go that up to my head, so I can just be better at what I do, or something like that. I don't know, it's so hard to explain. Damn. How can I put that?

To me, to win an award, it definitely encourages me to do more music. It doesn't make me better, or whatever. Whatever is going to happen in the future, we'll see about that. I won't let that go that up to my head expecting for people to get better music or something like that. It is going to be what it's going to be at the end of the day. It's just music is music. Yeah.

Audience Member

Thank you.

Anupa Mistry

Oh. Another question over there. No?

Kaytranada

No questions?

Anupa Mistry

No there is.

Audience Member

Thanks. Hey. I was wondering do you still think that you truly found your sound, or do you still think that there's more to dig into and there's some things that you can work on?

Kaytranada

I did think I found my sound, like when I did the “If” Janet Jackson thing. A lot of people took that style and kind of ran with it. Now I'm trying to build a new sound. It could be an evolution of what I was doing or something like that. That's how I see it. Now I'm more into drum breaks and stuff like that and try to do new jack swing. Something like that. Trying to bring it back. But in my own way. It's hard to explain. It's like I was doing the “If” and the Kaytranada sound that they saw at the time, in 2013, but now it's more like an evolution thing. Even with 99.9% I don't feel like it's what I'm doing now. It's been two years I've been working on this record. In 2014 that was pretty much the sound I was into, but now I'm into totally something different.

Audience Member

Do you still think there's some things that you could work on that's better? What would it be?

Kaytranada

Totally. I still don't think I'm like the most perfect musician. I'm still, trying to, you just try to sample less, and trying to create more; trying to create my own stuff. It's hard when you don't know how to play the piano or whatever. Or you forgot how to play the piano, of course. I guess, you know, sounds by ear, I know I can hear chords by ear. I take my time just to find the right composition. Yeah. I even collaborate with more people to be inspired and stuff like that. With BadBadNotGood, there's so much stuff we made. We were with Ty Brasel, and yeah. Pretty much that. More original music I'm trying to do, [more] than just sampling.

Audience Member

Perfect. Thank you.

Anupa Mistry

OK, I think…

Audience Member

I have a question to ask…

Audience Member

What advice would you give to musicians who were trying to work with someone else on a collaboration, just to have a more fluid, creative flow?

Kaytranada

The advice I would give to musicians is don't let nobody tell you what to do, I guess. Don't let nobody, I guess, have your creative control. Make sure you have that with you, because people will treat you like a puppet and make you do something that you don't want to do. You will not be happy at the end of the day, if you're not making what you want. Also, with collaborating with artist, make sure the artist love your music, make sure the artist knows what you're trying to do. Don't do, do not do a forced collaboration, do not try to collab with someone who's not really into you. Don't waste your time. You can't be a fan of someone, just because you're a friend of someone doesn't mean you have to work with them in some way. Make sure that person fucks with you first, so yeah.

Anupa Mistry

I think that wraps up our time here. Thank you so much for this.

Kaytranada

No problem. (applause)