Zach Wiles aka DJ VEDA

Speaker 1 (00:07):

Welcome to art and the raw today I have V Willis. And I’m your host and Kelly welcome, Zach, 

Speaker 2 (00:16):

You know, it’s funny. We just had the pre-interview and you said my name, right? But you just said it wrong, right? 

Speaker 1 (00:21):

I do. I knew I would do that. I don’t know. Yeah. I need to get over my, tell everybody what your name actually is. 

Speaker 2 (00:28):

Uh, Zach wi although Willis. Yeah. I could go with that too, if you wanna. That’s fine. Like famous Bruce, you know, 

Speaker 1 (00:40):

That’s of art and the raw, like I said. 

Speaker 2 (00:43):

Yeah. We’re just having fun, man. <laugh> 

Speaker 1 (00:45):

I’m in my backyard today in Santa Fe, New Mexico. Where are you, Zach? 

Speaker 2 (00:50):

Uh, I’m in my lovely, uh, apartment in, uh, Los Angeles. And it’s hot as hell. It’s warm in LA and also the whole state’s on fire right now. So, you know, 

Speaker 1 (01:02):

That, that doesn’t help either at all. Yeah. Y and I have known each other for a long time. I think it’s we met in the early two thousands. 

Speaker 2 (01:11):

Yeah, that sounds right to me. I mean, uh, that’s right. When I moved to Santa Fe, I first started working at blue corn. Cuz you were there, 

Speaker 1 (01:17):

You were working in the brewery. I was waiting tables, right. 

Speaker 2 (01:22):

Was doing a little bit of everything there. You know, I was, I was waiting tables and uh, 

Speaker 1 (01:26):

You were delivering the beer too, weren’t you? 

Speaker 2 (01:28):

I was, yeah. So I was kind of what they called the, the seller guy or the seller man or, 

Speaker 1 (01:34):

And when I met you, I remember you were, you were definitely into spinning records then. How long had you been doing that? I don’t 

Speaker 2 (01:39):

Recall. Couple years. I think I was a, I was a RA kid first and foremost. So when I was like 16 and 17, I grew up in Baltimore and Baltimore and DC back in the late nineties had a pretty amazing RA scene. And so, you know, we were doing that thing kind of lying to our parents, saying we were spending the night over at our buddy’s house and then we’d go into this into the city, into these like sketchy parts of town and you know, dance and other things there. Then I did a semester abroad in London and then when I came, when I came home, I ended up buying a set at turntable. So I was like 18 or 19. And that was like, must have been like 1999 or 2000 or something like that. And so, yeah, it’d been a couple years. Uh, I was still very new you and still very terrible at it. When, uh, when I met you just 

Speaker 1 (02:27):

Reading a little bit real quickly last night, just kind of about the history of DJing, just cuz a little bit, I have limited knowledge. I ran into this article about, I think it was maybe in the forties, French spending jazz records and it was, it was like the original rape. So it was the same sort of thing. So it was like in secret locations and it was before people were actually mixing 

Speaker 2 (02:52):

Specifically what you’re talking about. Um, I, I’m not super versed on, but yeah, like there’s always been like these perennial movements of like underground music and people kind of going and dancing all night that in the fifties, in, uh, in England, uh, called the Northern soul kind of scene where they were basically playing like records one at a time and people would just go to like these like big like dance halls basically. And I mean like even before DJs, you know, even jazz music itself, you know, when you go, when you think about like clubs like Birdland and stuff like that, uh, you can kind of trace like a lineage of the DJ really between like these like Northern soil movements and those thing, those jazz parties that you were talking about. And um, to like, uh, you know, the, the underground disco scene before disco became like some really overly commercialized thing. 

Speaker 2 (03:46):

And that kind of grew into like house that Bagga techno that Bagga jungle and hip hop is all, you know, it it’s all very connect. I think it’s all very interesting cause there’s a great book called last night. A DJ saved my life. If I, if you ever wanna read it, it’s just really fascinating, kind of ties a lot of stuff together. Um, over again where people are just always trying to do something outside of the mainstream and it eventually becomes kind of the underground kind of becomes the overground and then everybody kind of leaves that scene and then the thing kind of reinvents itself and you know, it’s just, it’s just something that happens. I feel like, 

Speaker 1 (04:25):

Yeah. History repeats itself. And then 

Speaker 2 (04:27):

Yeah, even just conceptually it’s just, you know, mixing records for me has always been interesting cuz you take these two different things that are like incongruous and you try to like put ’em. So they become one thing I guess. So, so even conceptually I think DJing is, is pretty, pretty, pretty neat, man. 

Speaker 1 (04:49):

<laugh> was it, was it the seventies or so that I, I was kind of reading at, at a certain point from event. So somebody would hire a DJ and a DJ was more of a music selector than someone mixing records that didn’t come until a little bit later on. And it was kind of when people started mixing that it kind of was perceived as a talent and then people started instead of just being the guy that showed up to play the records, you would have your own style, you would have your own DJ name. That type of thing was, was that, I mean 

Speaker 2 (05:22):

Impression there’s definitely people that are more knowledgeable than me when it comes to stuff like this. You know, a lot of that is, is accurate, but also a lot of these things were happening. What we know is DJing now is very much together, but like all these different things were happening independent of each other and they kind of all grew root together into like what you would call kind of like the larger world of DJing now, I guess cuz I mean like really when you take something like hip hop, which was, you know, really coming up in the late seventies, but really even before the DJs, it was really kind of starting with like graph writing, you know like cool Herk had a, basically had a, had a, a party for his, uh, for his sister I think, you know, and he was just kind of doing something to have a block party just from the summertime he, he called himself cool hark, you know, and even, even at the same time in the same city, you know, like, uh, the, the underground disco scene was, was people pulling playing records, you know, but they weren’t, you know, what we know is like seamless mixing and stuff like that, now wasn’t even really a thing. 

Speaker 1 (06:31):

Um, and that party, they kind of credit for being the birth of hip hop to a certain extent as to expand it, which 

Speaker 2 (06:38):

Is yeah. I mean, you know, and I mean like the, the, uh, you know, there’s a huge influence. The MC that kind of grew out of that culture as well, has a lot of connections back down to toasting and the sound clash culture of Jamaica. Um, there’s, it’s, it’s a huge wealth of inform and, um, having a name for yourself, like a, like a pseudonym or a different identity, you know, I think you saw that in hip hop in the beginning. Definitely. You didn’t really see it in the underground disco at first, people were just really using their names and then technology as technology grew, the, the techniques kind of grew <affirmative> cool. Herk was doing his thing, but you know, like it wasn’t really until like grand master flash came along that like really like, uh, you know, more like seamless type mixing really happened on the whole scratch thing and scratch culture took off. And so there’s, there’s a lot of different things that were all going on at the same time. I feel like I’m too wordy about it, you know, but it’s really, 

Speaker 1 (07:39):

Oh no. And I, and I also didn’t invite you here to, uh, harass you and quiz you about, um, the history of things wanna know what’s happening now. I 

Speaker 2 (07:48):

Just that’s totally cool. You know, I, I find it all very fascinating. 

Speaker 1 (07:50):

The history. Yeah. I mean, it is a really interesting history. I don’t know, maybe the longer I’m on this earth, the more interesting addition to being a DJ, your day job, you work, um, for universal music in copyright, is 

Speaker 2 (08:09):

That right? Yeah. Mm-hmm <affirmative> yeah, that’s my, uh, that’s my job job, you know, that’s actually really cool. 

Speaker 1 (08:17):

And then you also, I are on a show called tastemakers, which is on dash radio 

Speaker 2 (08:24):

Tastemakers originally was a radio show and it’s still on dash radio, uh, every day three to 5:00 PM. Uh, taste makers also has like an extensive, uh, archive on SoundCloud and on Spotify. So you can look it up on just, uh, tastemaker radio or tastemakers media. Yeah. So tastemakers originally was a, was a show that was three to 5:00 PM dash radio on the loud channel. Uh, it still airs to this day, but also tastemakers is kind of, um, branched out and has kind of become a MAED head that, uh, that has five or six different shows under it. So, um, tastemakers is kind of like the brand. Now we have a couple talk shows. We have a couple, uh, music shows that are, that are a bit different. I, I run a show on tastemakers called the rewind and, uh, so it’s more base music drum and based focused, uh, dubstep footwork, no anything in this, this hybrid category. That’s not really not really house or techno focused, even though I, you know, I’m a RA kid, I love house and techno, but, uh, the original tastemaker show is very much focused on house and techno. So I kind of get everything else. 

Speaker 1 (09:40):

You know, how long have you been, you’ve been involved in that show for a few years now? 

Speaker 2 (09:45):

Yeah, a few years. The, the, one of the founders of the original tastemaker show is actually my roommate for a long time. And so I had approached my roommate. I was like, Hey, you know, I need an excuse to keep blank, to keep buying music and to keep DJing. So let me, let me, uh, let me mix some music on the radio show. And then this is kind of what grew out of it as I ended up doing this other show, because as much as, uh, jungle and drum and bass and, and you know, that kind of music is a as a niche kind of category, the, the following is very, uh, very loyal and very, uh, dedicated. So there’s, there’s a built-in audience for that kind of stuff. So there ended up being somewhat of a demand for it. 

Speaker 1 (10:28):

So in my investigating last night, I was, um, I don’t wanna believe this, but I, I read something that said that DJing kind of became primarily digital in the early two thousands. I don’t wanna believe that, is that true? I mean, there’s still a lot of people collecting and, and spinning records. Um, but was it really that early that it became a digital thing? 

Speaker 2 (10:57):

I saw it around that time. I mean, there, there was definitely CD players in the early two thousands. Uh, they really sucked <laugh>. Um, yeah. And I can’t really tell you when they really became prominent just because I fought it for a long time. Yeah. Um, I was a vinyl dinosaur. Yeah. And definitely was one of those, uh, elitist snobs that was like, oh man, you need to learn how to play records. You’re missing so much. And to some degree, I do agree with that. But, uh, you know, I calmed down in my, in my old age, you know, I definitely saw some digital stuff starting at that point. And I would say by the time I was living in it and DJing full time, which was about like 2007 or something like that was digital at that time. And I was just like, oh no, I wait, why I waited this long records are so records are so heavy, you know, like <laugh> yeah, 

Speaker 1 (11:54):

No, no. I mean, I, 

Speaker 2 (11:56):

I, by that point, 

Speaker 1 (11:58):

Yeah. I think what’s interesting about that to me is my background specifically is photography. And there’s always that like digital versus analog with photography kind of argument. And I think, you know, it’s kind of the same thing where there’s this romantic aspect of, of analog photography, but there are benefits for sure to digital photography. Um, one of the main things being is you don’t have to be buying film all the time. You’ve got your digital camera and you just go. So I’m thinking it’s probably similar in, in, in the DJ world where film is kind of like records, you could yeah. Obtain the music for a lower price point or just have greater access. I don’t know if it’s kind of gotten that point with records and 

Speaker 2 (12:50):

I mean, yeah. I mean, you’re totally right. Ru out of records. Um, I will definitely maintain that if you have never mixed records or if you missed out on that era doesn’t mean that you’re, um, less of a DJ right now. It’s like, you know, like, cuz like with photography you can take a hundred pictures, you know, and you don’t have to be kind of judicious about like, you know, the shot kind of, I mean you do, but you don’t, you know, you can just, you can kind of experiment in free, you know, free, you can wing it every 

Speaker 1 (13:23):

God isn’t costing you 

Speaker 2 (13:26):

Money. I mean, there, there was, there was a discipline going to the record shop and you had 40 bucks to spend you, you could get a significantly less music, you know, then you can now just digitally $40 worth of digital music versus buying records. So you had to, you, you had less music, you had to know your music better and you often had to choose between two or three records that you really liked and you had to get the one that you really, really wanted kind of a thing. 

Speaker 1 (13:56):

It’s interesting. You say that though. Cuz a lot of, of the best photographers I have found come from that film background and it’s because they’re not just shooting, shooting, I’m gonna take a thousand pictures and pick the best one. They’re thinking every time they take a picture, you know, this is the picture. So there’s this almost like you’re more selective, right? Yeah. Kinda similar going to the record store. Do I really need this record in my collection? Right. Is this what I wanna work with? 

Speaker 2 (14:26):

And, and yeah. And so, you know, these days when you’re buying music, you know, you can be like, oh, you know, I kind of vibe with that tune, but you know, it’s only 99 cents or whatever. So I’ll just get it, you know, or it’s only two bucks or whatever. So you just, you end up there, there’s a lot more music to dig through in your personal collection and just out there in general. So, you know, um, it’s kind of more oversaturated, but that also can be a good thing too, because it really levels the playing field for people to get their music out there and heard. So it’s a catch 22 really. And I, and I will be the first to admit, even though I still have tons of records that you know, where we’re at these days digitally is you have like amazing CD players that can do all kinds of stuff. 

Speaker 2 (15:11):

And all you have to do is bring a, a thumb drive to a club. If you’re gonna play a gig and you just stick the thumb drive right into the CD player. Oh no way. You have hundreds of hundreds of tunes. Like you have way more music than you could ever hope to play in a DJ set just right there at your fingertips. And you know, and even now the are they’re, they have services where you can connect to the cloud. And so you can just essentially have connect. You can, there’s no limit to the amount of music you can have at that point. So, I mean, it’s really cool to be able to show up for a gig with just a thumb drive in your pocket and rock the party. Because as all my, uh, record P people know, you know, you used to, if you really wanted to be prepared for a, a, a house party back back then you had to have four and five crate records, you know, cause you never knew what you were gonna play. 

Speaker 1 (16:01):

So you’d need to like borrow the van from the, the brewery and fill it up with records or something. Right. <laugh> 

Speaker 2 (16:08):

Yeah. We, I mean, relo, you definitely did that. I mean, fire, you know, like I can’t do that now, you know, <laugh> no, and we definitely used the van, uh, to, for our own personal gain once or twice. Yeah. <laugh> 

Speaker 1 (16:22):

Sorry, JP <laugh> 

Speaker 2 (16:26):

There’s no accidents though. And we were all very sober when we were driving it. So, you know, <laugh> 

Speaker 1 (16:30):

All, all very responsible. Yeah. Yeah. So, so the, the, the day job does that, has that, have you learned anything from the day job that’s really helpful in your music career or that other musicians and DJs out there might benefit from knowing? 

Speaker 2 (16:52):

I mean definitely. Yes. The short answer is yes. Um, on the larger level, I work in the, in the, in the business affairs and legal department. So I work with a lot of music contracts and, um, so I see a lot of the guts of the music industry. So I see how a lot of the, the deals are put together and know different things in that area, but also there’s has been a lot of benefit to working for universal, for sure. It’s a, it’s actually a great company to work for. And they’ve, they’ve really been over backwards, especially in the pandemic to make sure everybody has what they need. 

Speaker 1 (17:25):

Yeah. It’s been working from home. 

Speaker 2 (17:28):

Yes. And still working from home. Um, most likely working from home till the end of the year, or we are working from home till the end of, of the year. We officially, um, we don’t have a return date yet. We are just being very cautious about that. I think everybody just didn’t realize even outside of our sector and stuff, didn’t even really realize how easy the digital transition actually was gonna be. 

Speaker 1 (17:50):

I remember, I, I don’t think I dreamt this. Were you at one point kind of wondering, like there was gonna be a back stock of, of new music coming in and you were kind of wondering when you went back, what that 

Speaker 2 (18:03):

Was gonna look like? I do copyrights, which a lot of people on my team do, but, um, I, the, my personal wheelhouse is I do the pro the, the physical copy, the, the copyrights for the stuff that needs to be copyrighted physically. So the stuff that’s on CDs and vinyl and cassettes, believe it or not, they’re still making ’em. So, uh, sound recordings, uh, photographs, artwork, liner notes, these different you, uh, if it comes with a DVD, sometimes we will copyright the motion picture. We get shipped everything to the, uh, to the office, uh, like every, basically every co every CD and every vinyl that we publish. Um, and I have to go through it and to kind of inspect it, to make sure that we need to copyright it, or, um, so anyway, yeah, the, the, the office closed in mid-March then about a month ago, they, um, gave a very limited, very, uh, to, to me only <laugh> believe it or not, um, to go back into the office, um, to go look at this, look at, see how many boxes we had. And we had quite a few now I go into the office about once a week, for half a day and just open up a bunch of boxes and, uh, take, you know, a, a bag of stuff home to in inspect it, go through it, all that kind of stuff, and then bring it back. And 

Speaker 1 (19:23):

That’s super cool to just kind of know what is being made, you know, just everything that’s coming out, 

Speaker 2 (19:29):

Like, you know, you know how it is, you know, like we, you know, we both were slinging tacos for a long time, you know what I mean? And not that there’s anything wrong with that. It kind of still blows my mind sometimes where I’m like sitting there and I’m like, you know, have like all this music around me and I’m, you know, I’m very fortunate to be getting paid to, you know, go through it like that, you know? And it’s pretty recognizable stuff, you know, like lady Gaga, Taylor, swift, you know, but even, you know, like really stuff that I’m discovering that I never would’ve like thought of before, like, uh, like this band, glass animals, like I like discovered like a year or two ago. They’re amazing. Some, uh, you know, max Richter, all his like weird classical crossover stuff, you know, Brian Enos stuff. It’s, it’s cool. It’s really cool. 

Speaker 1 (20:14):

Well, I’ve got a question. You, you obviously collect vinyl. I think I see a bunch behind you. 

Speaker 2 (20:21):

Yeah, actually. Yeah, you’re right. <laugh> 

Speaker 1 (20:23):

Um, I mean that, I just kind of assumed you collected vinyl. That’s just kind of part of that. I still do. 

Speaker 2 (20:30):

Every time I move, I wonder why I still have this habit. <laugh> it’s just like, oh my 

Speaker 1 (20:34):

God. Well, it’s like me and photo books. When you move you go. Why, why then the rest of the time? It’s just amazing to have around. Yeah, exactly. OK. So, so two questions. Is there a favorite record that you have and two, is there anything you collect other than vinyl? 

Speaker 2 (20:57):

The, the favorite record is like, I’ve always, I’ve always had trouble with those kinds of questions, you know, cuz different records for different time and stuff like that. My favorite hip hop. 

Speaker 1 (21:09):

Yeah. Favorite hip hop record. 

Speaker 2 (21:12):

Mm. Okay. My favorite hip hop record is, is, uh, Mo Def black on both sides or it could be roots things fall apart. It’s one of the, either one of those two, I could tribe called quest. I could, uh, um, you know, electronic music, uh, ninja tune, anything from the, from the early, early ninja tune era was like their record label. Uh, so anything from, you know, the, the like, uh, early two thousands cold cut timber kind of area and you know, old Aman Tobin type stuff, 

Speaker 1 (21:45):

You know, Bri and business music, right? 

Speaker 2 (21:47):

Yeah. Uh, music business at, uh, CU Denver, the it’s a music degree, but it’s focused on business. So yeah, it’s a great program actually, still kicking bigger than it was, you know? So 

Speaker 1 (22:02):

I’m trying to light myself now. Yeah, yeah, yeah. And art in the raw I’m using my flash. Uh, I dunno if that’s gonna work. So anything else interesting that you collect other than 

Speaker 2 (22:15):

Buying? Oh, collect, let me, let me look around the room real quick. I play piano too. So I I’ll, I’ll buy, like if I, if I see like old piano books and stuff like that, I’ll, I’ll get ’em from like the, the thrift store or whatever, you know? So I have like a bunch of sheet music records are enough of a habit. I think not a shoe guy, you know, <laugh>, I’m probably the least stylish dude in LA. I don’t have any tattoos. I don’t really do yoga. 

Speaker 1 (22:45):

You found that LA has been a pretty good place for you for music in yeah. LA conversations we’ve 

Speaker 2 (22:53):

Had, um, LA has always been a great place and honestly, it’s a great place to be during the pandemic too. Cuz when you’re feeling crazy, you can just really go to the ocean, which is a huge advantage and a good restart when there’s no, uh, coronavirus around, you know, taco trucks, amazing music, amazing music scene. Like I said, I went to school in Denver and I got so tired of snow that it’s never gonna snow where I’m at. So I’m happy about that. You know, LA is cool, man. LA is cool. There’s things you have to make your peace with in LA to make it out here. Um, you know, the traffic, the traffic, uh it’s, you know, astronomically expensive. There’s a lot of people out here. A lot of the people you don’t necessarily wanna share a beer with. There’s a, there’s plenty of people that are cool out here too. 

Speaker 2 (23:37):

And everybody’s, you know, like this one time I was, I, I like my old, the old building. I lived in my, my old roommate, myself and two other guys, all randomly were like sitting up on the, on the roof, just like chatting and stuff like that. And my old roommate worked in, worked for Sirius radio, Sirius XM. I worked for universal. The other guy worked for Netflix and I, oh, the other guy worked for Jimmy Kimmel as like the music Booker the so it’s just like, you know, four guys working in entertainment in four different sectors, you know? And it’s just, you know, like those kinds of random meetups, you know, is, is a very distinctly LA thing I think, you know? So 

Speaker 1 (24:16):

Yeah. Kinda legendary. 

Speaker 2 (24:18):

Yeah. So it’s a land of opportunity, you know, just the other day, you know, somebody was being like, oh you do copyright and stuff and you know, you know, music rights, you know, it’s like, we’re opening this, uh, this in this office. You should, you should check it out, you know, or we’re, you know, bike, dance, bite dance is opening up an office out here and can bite dance is owned by TikTok, you know, or no TikTok is owned by bike dance. It’s a little too volatile for me right now, you know? Right. Yeah. But, uh, but it’s just so funny, you know, it’s just like you, you’re not gonna find that in a lot of other cities, Sunis New Mexico and the, the, you know, the people, the food, the, the clean air mm-hmm, <affirmative> the, the hiking, you know, uh, I do try to make it out there like once a year, actually, it would’ve been about this time of year actually, but you know, wow. 

Speaker 1 (25:05):

That, that’s one thing that’s kind of helped us stay connected is you’ve been out here about once a year. And I usually am in LA a few times a year of all the places you’ve lived. So you’ve lived in New Mexico, which has, um, I must say amazing food. One of the things that keeps me here. Right. Um, and then you lived in Atlanta for a while as well, which I’ve never been to Atlanta, but I feel like it’s a pretty awesome food place. It is. 

Speaker 2 (25:31):

It’s gonna, it’s gonna, it’s gonna put some, put some poundage on you, but yeah, man Southern. Food’s great. Yeah. I’m a big fan of the meat and three 

Speaker 1 (25:40):

<laugh> the, the meat and three what’s that <laugh>, 

Speaker 2 (25:45):

I’m a, I’m a Southern boy. You know, like my, my whole family is either from Mississippi or Alabama. And I grew up in Maryland, which, you know, as much as Maryland doesn’t want to admit it to Maryland is full of rednecks and is very much part of the south. Um, <laugh>, it’s, uh, it’s like if you go to like a cafeteria style place in the south, it’s a big type of restaurant thing. Or you get, you get to choose a meat, which is either are like meatloaf fried chicken, pork chops or something. And then you get to choose three sides. So like, ah, Lima, beans, corn, uh, greens, uh, you know, Mac and cheese, whatever, you know what I mean? So a meat and three plate is a meat and three sides. And it’s generally like, you know, fried chicken, Mac and cheese, collared greens, horn bread, you know, <laugh> just all this stuff that’s gonna basically make you have a heart attack. <laugh> 

Speaker 1 (26:35):

So, so between the south and New Mexico, if, if someone could FedEx you a meal right now, like overnight, what would you pick? 

Speaker 2 (26:46):

I mean, I would pick New Mexico because I can’t really cook it that well, like Southern food is Southern food is at least I can, I can mimic it in my kitchen, you know, but I’ve tried to make chili the way that it tastes in New Mexico. And I just can’t man. So, you know, send me some green chili stew, send me some stuff. So PIs, you know, like send me some Christmas enchiladas and stuff like that, man. I can’t get that out here. You know? Yeah. A lot of man, I could go on <laugh> 

Speaker 1 (27:14):

Thank you so much for joining me tonight. Really appreciate that. 

Speaker 2 (27:19):

Of course, this was fun, you know, I appreciate, uh, you having me on, you know, it’s, it’s great to just catch up. No one ever asked my opinion about stuff really. So it’s cool to actually it’s like, uh, to reach back in the brain and be like, what do I think about that? You know, 

Speaker 1 (27:33):

<laugh>, I’m gonna try and keep this going. Um, I, I, some of the shows are gonna have multiple guests next week. Uh, Michael, uh, perha off who was on my first show is gonna be involved in the show with our mutual friend, Greg Robertson. So Michael’s a photographer, Greg’s a stones sculptor. I’ve known Greg, as long as I’ve known you, Michael doesn’t know Greg. So I feel like, um, he will have obviously different questions and I’m not gonna put on the spot now, but if you’re up for it on a future show, you totally that. 

Speaker 2 (28:08):

Yeah. Let me know, man. Be fun. You know, we can even, uh, some more of those New Mexico DJs we can reminisce about the old Mesa parties back in the day and stuff like that. <laugh> yeah. You know? Yeah. Just let me know. I’m I’m down for whatever I got nothing but time on my hands. We’re not, 

Speaker 1 (28:25):

Well, let’s, let’s make the best of the, the time on our hands and Justin from the coffee shop. And I dunno, 

Speaker 2 (28:34):

I I’m sure he’d be down for that. Yeah. You know? Yeah. More shout out Justin remixed, audio bar on Marcy street, you know, they’re, they’re still holding it down. Even through the pandemic. They do curbside service and they’re like always streaming on Twitch. They have DJs up there, like all the time. So 

Speaker 1 (28:52):

I I’ve gotta say I’ve been impressed with just kind of the way they’ve adapted to all of this. Thank you so much, Zach. Um, we will talk soon and um, if you’ve enjoyed the show tonight, um, please follow us, like comment, subscribe. The title of the show is art and the raw. And um, we’re definitely gonna be putting a few more of these out at least. Um, let us know what you think. 

Speaker 2 (29:17):

Check out the radio show, you know? Yes. Just 

Speaker 1 (29:20):

Check, check out the show. 

Speaker 2 (29:22):

Find me on Instagram. Slide them. I DMS say what’s up. Yeah. 

Speaker 1 (29:28):

Yes. Say what’s up and, and keep in touch. 

Speaker 2 (29:31):

That’s what’s 

Speaker 1 (29:32):

Up. Have a good night. Y’all 

Speaker 3 (29:46):

I.