Vice Beats recently released a album dedicated to Dilla's music, officially endorsed by the James Dewitt Yancey Foundation.

I spoke to him just before it's release in February about how it all came together, his life in Hip-Hop and his love for Dilla

Broadcast 07/06/20 on Itch FM

Track list 

Dilla - Fuck the Police

Slum Village - Raise It Up

Jaylib - The Red

Jaylib - Raw Shit (feat. Talib Kweli)

Vice Beats, Greg Blackman, Brotherman - Reminisce

A Tribe Called Quest - Stressed Out

Common - The Light

The Pharcyde - She Said (Remix)

J Dilla - E=Mc2

The Brand New Heavies - Sometimes (Remix) (Feat. Q-Tip)

Vice Beats, Greg Blackman, Distantstarr - Get On In

The Pharcyde - Runnin'

A Tribe Called Quest/Tammy Lucas - 1nce Again

Vice Beats, Audessey, Greg Blackman, Knuf - That Love

Slum Village - Fall In Love

De La Soul - Stakes Is High

The Pharcyde - Drop

J Dilla - Won't Do

Vice Beats, J-Dubble, Thalassic, Sayid The Zulu - Hero + Villain

Vice Beats - Interview

Dilla and Vice Beats - Transcription

[00:00:00] Maj Duckworth: [00:00:00] I'm Maj Duckworth. And this is Sample Nation. 

 

Jay Dilla, AKA James Yancey passed away February 10th, 2006. He was 32 years old  

NPR referred to him as one of the music. Industry's most influential hip hop eyes. And in his short life, he managed to work with common far side tribe called quest. Busta rhymes, Taleo quality, Dela soul madly, Ray Kwan, the roots, obviously his original Detroit Cruz slum village.

And that's before we even get to remixes his loose like, unquantized drum patterns and production style of heavily influenced the lo-fi movement and the LA beat scene. , what's really impressive is how much that drum style was like seeped into jazz and funk drumming. I mean, his name is really spoken of in like hush terms when it comes to production and his birthday is still celebrated, , with events and [00:01:00] fundraisers every year,

 I was lucky enough to speak to one artist a few months back on how Dilla influenced him , his own journey into hip hop and why he wanted to make an album dedicated to such an influential figure.  This is vice beach.

Vice Beats: [00:01:15]  

So, my grandma, who is possibly the coolest grandma in the world, she reads Guardian reviews on lots of different things and then she tracked down these CDs   and like she found the Suite for Ma Dukes because it had got a review, I think in The Guardian in maybe 2007. She just made it her mission to find these things for me and over time, she's got Brazilian hip hop. She's got Italian stuff, all sorts of things, like things I genuinely didn't know existed but she's found it.

 I checked out [00:02:00] Suite for Ma Dukes and, at the time, I … So, I mean my daughter Alex has Down syndrome and she's spent a lot of time in the hospital in her early years. So, I was in hospital with her a lot of the time and it was one of the reasons why I made the change from freelance workshops into employment because I was doing that but I was desperately trying to hold onto the musical stuff I was doing.

 (music)

 but I heard Suite for Ma Dukes. It really connected deeply to me because I think there was stuff that I'd heard of Dilla, especially during uni, there was stuff like Slum Village was really building and there was a lot of things that were happening. I felt connected to his music anyway but I didn't know how deep it went. I think when I heard that and just heard the beauty in that and finding out that Dilla was classically trained and all that side of things, it [00:03:00] just opened up the doors, really.

 At the time, in that moment, I knew I wanted to do something with it because I've always loved that music that can have a different approach and I remember just having that moment and thinking I can make something with this. 

 (Intro song)

 

I'm Vice Beats and I'm a producer based in Bristol. I've been making music for longer than I care to remember

 

 at the moment, I'm actually a teacher. So, I had 10 years in youth work and now I work for a community [00:04:00] interest company who are a training provider.

   I lived in Birmingham before I moved to Bristol. So, I was working with quite a lot of YOTs, mostly young offenders institutes and working with kids who were in [proos] where they've been kicked out of schools. So, it was quite a range of young people I was working with and I was working with three year olds all the way up to 65 year olds.

 

So it's great. It's challenging but it's really nice to be part of something where I can see that development and I know I'm definitely developing my own skills and it's nice to be given that challenge again, really

crazy seeing how it was built up from all of those things where it was humble beginnings of like  desperately trying to do a workshop and working as a waiter in the daytime and then getting to the point where I'd asked for night shift and I'd got to take the 5:00 a.m. coach down to London, do a workshop, get back in time for doing a night shift in the restaurant. [00:05:00] Then, it just eventually built up and built up. Then, I kind of thought, "Okay. Well, this could be something," and just took that leap.

 I'm not claiming it's been easy. There's been patches where it's kind of gone in different ways but it's great. I really feel like I forged my own career out of it and definitely music has led me to this point. So, even though I know that, yeah, I might not be making music every day, without music, I wouldn't have a job in that way. I'd be doing something very different.

 (Poem Scene)

   so, I was a moody teenager writing really depressing poems and then I got the opportunity at my college to … something at Oxford University called it was like Oxford Revolution and the idea was each year, they brought together different [00:06:00] students from inner city areas and they gave the opportunity to submit something

 

So, I wrote a poem on revolution and won

,  I was brought up on stage and met Mel B and I met a few of the Channel 4 newscasters and all these different people. I was 16

I just kind of thought, "Well, I know that I like this hip hop stuff I'm hearing," but I didn't really have access to it but when I went to college there was loads of people around me who were making hip hop

 (Intro to Beats)   met this guy called Patch, who was an amazing beat maker. He gave me a beat CD. [00:07:00] I'd never be given anything like that before. I just thought it was amazing. I listened to his beats on loop to the point where the CD didn't work anymore. I just loved hearing these beats because it felt much more like me.

   , I was like, "Okay. Cool. So, I've got these." I had no way of recording anything and we haven't really got any concept as to how that would work but with those, just that full essence to it.

 

    I'd got a PlayStation and my cousin gave me the DJ game. It was terrible but you could make beats. They really did sound poor but I started making loops on there and then I got HipHop EJay.  I was like, "Oh, hang on. I can put my own sounds in."

 Then, I moved onto my PC properly and I got a couple of other pieces of software. , one of them was meant for podcasting and so there was no , had no clue really what I was doing with it but I [00:08:00] made a few beats and there was an American emcee who paid me £150 for a beat. I was like, "Oh! Okay!" It was just one of those weird ones where it built and it built over time

I released an album, I think it was 2006 on the CD, made the decision that everyone makes wrongly of, "Oh, yeah. I'll get a thousand CDs pressed." They're littering charity shops for years. I mean, I literally, when I moved to house one time, I'd had enough of them and just gave them an entire box. Was like, "There you go." But I learned a lot with that

it was more about making something but I think, over time, I kind of noticed that it was getting better each time I was making beats. Then, I went to Lincoln Uni. It was the first time where I really felt that sense of community with it.  There was loads of people around me where we literally just lived [00:09:00] in the studio

 (Music)

  just built this brand new building that they weren't monitoring properly so it was like the year before, they'd scraped all of their tape recording, which I was a bit gutted about because I loved the idea of cutting the tape but they got this brand new shiny studio. I met all of these guys who were just massively into hip hop.

 We'd go into the studio and we knew when the security guys would come so we turn all the lights off and go into the recording booth and wait for them to go. We knew they wouldn't come back till 6:00 in the morning but that also meant we couldn't get out the building until 6:00 in the morning.

 So, we'd let take food in for the night, turn all the lights off when the security guards came, which is, I don't know, like 9:00, 10:00. We'd just record all night long. People would be falling asleep next to the speakers but we'd learn it. We cut our teeth in  there.

 There was my friend Halo, who was a really good emcee, and [00:10:00] he's kind of starting to come back now. He's based in Ipswich. We'd freestyle every day and he really turned me onto a whole bunch of hip hop. He got me into that much more lyrical stuff. So, he introduced me to people like J-Roll and all of those guys where it was just this amazing production but also kind of helped me dig deeper. I think it was him who got me onto people, like a lot of us, where he got me into people like Dilla, not necessarily knowing it was Dilla

in Lincoln there was this scene forming where, there was people like Foreign Beggars who were starting to emerge Then, we'd have people like Task Force and Blade and Jest and all those guys  coming down because it was 2001, 2002 which was that era, so that low life was huge but we were just in a sleepy little town and we didn't really know much as to what was going on but you could sense there was this thing happening

  , when [00:11:00] I graduated, I went back to Birmingham. Then, there was another scene forming with Eat Good Records and Louis Den. There was all of the Beat Cypher starting to happen. I mean, around that time, it's quite a little scene. . My friend DJ Crow was part of the record shop there called [Jibbering] , which was the hub. Everyone who was into hip hop and funk and soul would go there because he was the font of all knowledge.   He knew everything. He knew all the labels. He had contacts everywhere. He could get you whatever you wanted. He would put on these amazing nights they'd have in stores and all sorts of things. He then linked me up with various people.

So, at one point in time, I got to know Co-Sign and Sunny Jim and all that lot quite well. were building up their scene and having these amazing beat battle nights.

 And they did a league as well, which was great. We all love it. So, it was an online [00:12:00] league. There was maybe 20, 25 producers and it went on for three months each time. I mean it's crazy now looking at it. There was people like Percy Filth and [Kelacovsky] and Pete Cannon and all of these guys. We'd go head-to-head. We'd have one sample and have to try to beat each other

 But it was good. It was a fun kind of time with that side of things and there was that real sense of community. I guess it is that kind of thing where it seems like there was a lot of movement. It doesn't necessarily feel like there are so much kind of things now. It's hard to explain that to people without sounding about 90 years old but it is that element of there was a real sense of community.

  So listening back, the thing that come up time and time again, was this idea of community and belonging. And that saying I've often felt that hip hop provides yes community, but it's more than that.

 it gives us, a [00:13:00] common language. , a common sense of style or movement,  and it does give us something to belong to where we previously might felt alienated or alone.

 (music Pause)

 

  Vice Beats: [00:13:12] My parents have split up and my mom was more into kind of, I guess, synth stuff and pop stuff but she's the one who would let me collect all the little things that you could get for cereal boxes so that you could get the vinyl on them and stuff like that and all that side of things. It's like, I always had music around in that sense 

I heard Fugees through my dad. I mean, my dad listened to everything. God knows how he got latched onto it but he listened to … So, I mean, he played the score to me. I mean, we'd always listened to vinyls and all sorts of things and there'd always be music around.

 

  Maj Duckworth: [00:13:55] J Dilla. The timeless tribute was released seven for February, [00:14:00] 2020.

 The album had been in fruition for all my seven years, by this point. So   I wanted to know how it began.

Vice Beats: [00:14:07] I started playing around with a few little bits and just trying a few little loops and just so, "Okay. I'll see what I can do." At the time, I was doing a lot of music with Donnie Numeric

 So, he did the first verse on one of them and it just sat there for a while and I was just playing around with these other bits. Then, Greg Blackman got involved and started out in live instrumentation elements and some song elements. It started turning into this thing. Years, years before this, I started making an album called Connections, which never came out but it was artists from all around the world. I really wanted to make something. I've loved that idea of collaboration but on a wider scale for years.

 With this project, like Dilla: The Timeless Tribute, the whole thing on my side was that I wanted to take Suite for Ma Dukes and give it its [00:15:00] own life in a different way so turn it back into hip hop and soul but the idea being that no matter what I was doing with it, it was either official or nothing,    I wanted to make sure that something would happen properly, so when

think I just tracked down an email somewhere and then I ended up calling and spoke to Dilla's auntie. It was very much a small organization at that point   I just explained what I was doing. It was like, "Look, I don't have solid tracks to play you right now but I would love to support you guys in some way. I want this to be an official project and I don't want it to just be kind of seen as just a random project. I love Suite for Ma Dukes and I can hear that I can create something."

 That developed via email so as the project developed, I sent a few of the kind of grass roots tracks over, just bare bones [00:16:00] stuff. They liked it. It was at that time where Ma Dukes came over because it was Dilla Day so she come over and Illa Jay was performing and I think it was doctor's orders. They got something in London. Then, they come to Bristol. She was at this event so we touched base. It was really nice meeting her and having this kind of bizarre situation where she was excited to meet me and she wanted a picture with me   meeting Ma Dukes, and just knowing how sweet and kind and genuine she was just gave me that motivation

and I planning to do this

  Maj Duckworth: [00:16:42] and how did you feel meeting her, then?

Vice Beats: [00:16:45] It was overwhelming. Just to kind of say, "Hi." I think it is one of those kind of starstruck moments where it's bigger than her or anything. I mean, really, Dilla is bigger than anything that could ever be achieved. He's an [00:17:00] entity in that sense, where he's created genres. If it wasn't for him and a few close friends, neo soul wouldn't exist and all that side of things. The impact of people like the Soulquarians and all that side of things. It's much bigger than any of us can contemplate in that sense.

 So, meeting the woman who's given birth to that powerhouse is just nuts and not just meeting her but for her to know who I was. At the time, I just thought I was a no one and, to be honest, I still feel like I'm kind of … It's not really about me and it's like I know that my music is isn't that well-known outside of this project but I'm fine with that

 

 think over time, this project has connected me with different people where some artists have said, "Look, yeah, I'm up for doing this but can I suggest this person gets involved as well?" I'm quite surprised with it, the number of artists who said, "No," [00:18:00] because of it being Dilla as well, where it's like, "Yeah, I love this but I can't do this because it's Dilla." Like, "I can't touch this. It's too scary."

Maj Duckworth: [00:18:09] And did you worry about the kind of perception that it could be perceived as …

Vice Beats: [00:18:13] Yeah.

Maj Duckworth: [00:18:15] I'm not saying you are but it could be perceived negatively in the sense of a cash grab or whatever.

Vice Beats: [00:18:20] Yeah, yeah. I mean, I think that's the thing. So, I'm not making any profit from this. All of the money for it's going to the James Dewitt Yancey Foundation. The basis of that is that this was never about me in that sense. I just wanted to create a body of work where it could create a musical community and that's what I've always tried to do but I feel like, with the album, I've achieved that in that sense because as artists from various countries, from Brazil to America to Holland to Australia and various others. [00:19:00] It's been really nice to pull all those people together and see all those different influences with it. Also, I've got the permission to use Suite for Ma Dukes as well, which made a big, big difference in that sense.

  few years ago, it didn't look like that would necessarily happen. So, I kept plugging but I always had that in my mind that I wouldn't release this until I got the go ahead. It took a long time. I think it wasn't until late 2019 really, I think it was September, I got the green light officially from the James Dewitt Yancey Foundation. We'd been in touch and so on but I hadn't heard for a while. They got a hold of me like, "Yeah, of course. It's sounding great.

 

 I was walking down the street crying, calling my wife with, "I can't believe this. It's happening. It's really happening." Then, it was just this mad [00:20:00] motion where  I played it to Ronald [Dare] . He's like, "Look, I love this but we need to make sure it works."

 So, within the space of a week, I've gone from thinking I don't know whether this is going to pull off to speaking to the foundation, the same day speaking to Miguel's manager, the same day speaking to HHV and them all being happy with everything. Then, the very next week talking to Andy at Steaming Kettle PR. All of a sudden, it had a timeline and it was real, very real and I'd always-

Maj Duckworth: [00:20:33] Was that scary or …

Vice Beats: [00:20:34] Incredibly scary, yeah. And still, to be honest, it still is. It's like I keep kind of pinching myself thinking, "This is real. This is actually happening. I'm releasing my first full debut production album and it's to one of my musical heroes and it's being supported by the James Dewitt Yancey Foundation," and  . It feels surreal but it … I'd always known that [00:21:00] I wanted to do it so when I released it, it'd be Dilla's   I didn't ever want it to be a case that that was an insult to anyone. I always wanted to make sure that it was a case of it felt right in the sense of it's kind of giving birth to something that is creative and unusual. I am proud of the music that we created because it isn't just me. it is bigger than that. It's got live sax and drums and bass and keys and vocals and all sorts of different forms and interludes from different people and all sorts.

Maj Duckworth: [00:21:39] yeah, and I'm just wondering how you kind of go about crafting something. Is it like do you look at, say, production styles of Dilla or do you look at trying to do something different with it? What is it you're trying to do?

Vice Beats: [00:21:52] It's been a range really. That Love is the only track that's trying to match a Dilla track. No other tracks on the album are [00:22:00] doing that but I love Fall in Love. It's one of my all-time favorite Dilla beats. It's always fell too short. It's one of those beats where it's just perfect but wrong that it finishes so early but that one I started quite early on. So, I'd got the chorus from Greg Blackman in quite early.

 

 I studied Fall in Love like crazy. I reworked and reworked my drum patterns. I tried to find some Dilla tracks where I could try and cut up some of the drums. I found out the original samples he'd used with elements of it. So, I went onto WhoSampled to check out stuff. I did whatever I could to try and get it so that I could build the same structure.

 So, with that one, I mean, mine to the bar matches the same structure but then I wanted to give it something else. So, I mean, Greg [00:23:00] created some live percussive elements and the drummer at the end

Maj Duckworth: [00:23:03] I did wonder if it was live drums.

Vice Beats: [00:23:05] It is, yeah, so that's crazy how that came about. So, I, through that process, I went on YouTube and must have tried to dig around for stuff and just kind of seeing if … I was trying to just find a break, see if anyone got the drums for Fall in Love anywhere. I found this Brazilian drummer/street percussionist called Knuf, who doesn't speak a word of English but is insanely talented.

 (Knuff - Video Drums)

He'd recorded this video that's just one minute long with the outro drums to Fall in Love. 

  "Oh, my god, this is amazing. How the hell can I get this thing?"

So, I tracked him [00:24:00] down somehow on Facebook. Worked out that we couldn't speak the same language so I was on Google Translate trying to figure out how the hell to speak to this guy. It took us … We both had the same emotion. It was let's make this work but we couldn't quite explain the ins and outs to each other. My dad lives in Spain and I thought, I know a little bit but when it comes to technicalities, I don't know anything.

 So, eventually, we got it so that he was like, "Yeah, cool. I'll send over the stems." So, I ended up with this live break. I'm, "This is crazy! I've got the drums here."

So, with that one, I slightly quantized a few tiny bits here and But yeah, that track definitely rung true to that whereas some of the other tracks on the album are much more abstract

  of each track has had its own way of coming about but, I mean, there's definitely ones where quite a [00:25:00] few of them started where it was just trying to find a little bit of a loop and then building up so I'm not trying to find something where it could diversify, every four bars could then turn into something slightly different.

 I mean, even the interludes that bridge some of the tracks, it's taken us a long time to get some of that to work.

 (Interlude)

 

  [00:26:00]I had this horrible moment about a week before it was sent to master where my master session, well, my pre-master session just disappeared but I'd actually recorded a whole bunch of stuff in there so some of the live sax, some of the violins and various things were recorded on top of that project I was working on and it corrupted

 (Space for Music)

 

   I was so upset. My wife came home from work and I was shell-shocked. I  couldn't … I was trying to explain it to her and I just couldn't formulate sentences. Thalassic is now in Canada. There was no way of getting that saxophone re-recorded   more than anything, it's capturing that moment.  all of those masters were about to get sorted a week after.

 [00:27:00] So, I spend about three days straight going through every single audio take I'd got and reconstructing things. Luckily, I managed to piece together pretty much everything, so some of the interludes are actually old wav and mp3 bounces that I made, which were backups and then ended up to have to chuck some other stuff on them and just be like, "I think this is right." But yeah, it's crazy. There's like there's been some really testing moments with this project

 (Interlude)

 I've always got it in me to do stuff. Making beats is my release.  but, yeah, I mean, I think if anything, it's just that life kicks in. You know what I mean? My daughter's 10 now. I'm married. I teach full-time. I'm studying. Yeah. doing music but I'm also, in terms of the music stuff, I'm doing things like making music for plays and doing [00:28:00] TV music stuff as well.

 So, there's elements of it where there's strands where it's more trying to do it on a professional level but then there's the more creative element where that's the bit that falls to the wayside that little bit more.

  So, I definitely find that, when it comes to creating for music’ sake, that's the bit that's harder

  So, I think with that, I've got to that point where I will make something and it may not necessarily be exactly what I wanted to make but I've been less hung up on that because I remember a few years ago, I'd make beats. I'd be like, "This isn't exactly what I was planning," and I'd scrap it but now, it's a case of, "I don't mind where this leads. I'll just see what happens."

Maj Duckworth: [00:28:46] in the past, were you quite precious over your beat making in the sense of, "Oh, I've got to tweak this now and I've got-"

Vice Beats: [00:28:53] Yeah. Definitely. Yeah. I mean, I've got so many sat-on projects, it's ridiculous. I think [00:29:00] that's the thing is that this Dilla album for me is a massive marker point in terms of I needed to get this out to be able to clear the decks as well, because this is the scariest project I've ever made because it's messing with something that there's a lot of people care about and that's … To be clear, it's not me saying that I think people care necessarily about me but it's more about the bigger picture of what this is linking into. The fact that people like the James Dewitt Yancey Foundation is sharing projects I'm doing and supporting this and putting it out on social media and all that side of things

I mean, I've had a few questions where it's like, I mean, a couple of people have said, "Why you?" But I think the thing is that I'm a fan like anyone else.

 Maj Duckworth: [00:29:50] you say you're like a more confident producer now, then?

Vice Beats: [00:29:54] Yeah. I'd say so. I guess it's more that I'm just at peace with what I create and I think, [00:30:00] in part, it's that now that I've got more links as well

 I kind of put together these songs and just put them out in the world but I think to a certain degree there is that typical great fear of it's not good enough or my music doesn't work or why am I on the same list as those artists, all that side of things, where it didn't feel enough whereas I think now more recently, I'm starting to have artists that I'm working with, whose songs I'm producing where I think, "You know, I actually … Yeah, it is enough.

 

  so it's that a thing of just being able to feel like it's starting to pull together a little bit more and there's artists that are more up for working together and I feel like there's songs that I'm constructing where I just think, yeah, this is the kind of music I really wanted to make. I think that's the bit that's taking a long time where I listen back to things and think actually, I'm sitting on stuff that I'm happy with now [00:31:00] still as well,

   I think it's that essence to just creating something original where it's just that moment of thinking, "This is great. I love this," and just that satisfaction of creating something new.

   It's just that beauty and creativity, really

Now, I guess that's the thing is that I'm learning how to harness that process in terms of think, "Okay. Yeah. I've got the music stuff," but I do want people to hear it because I do feel like I can be part of the narrative in terms of hip hop and just wider music context.

   It's just lovely that this project is bringing happiness to people and just seeing artists excited about it

 , it's  really nice that there's all of these people building up and just getting stronger and stronger with it and it does. It feels like this really beautiful partnership where it's … I feel like I've developed friendships with some of these artists over time where before I might have [00:32:00] known them but, through this project, it really felt like, "Wow, okay. We've created something that matters, . 

It feels really positive. I feel really lucky and just blessed in so many different ways that this has happened but at the same time, I know how much I've pushed for this. There's so many, so, so many moments where this album could have just got shelved and was very close to getting shelved for different reasons. So, to finally have it happen has made such a big difference.

Lots of things have changed over time with it and, yeah, with ever single element, I think there's been certain kind of negotiations of various things that have had to happen.

And it was really hard because I knew that all of the artists have done this out of a love of Dilla. No one's been paid including myself. It's like, as I said, the money from this is going to the foundation

be interesting to see how this is going to be-

Maj Duckworth: [00:32:57] How it's received as well.

Vice Beats: [00:32:58] … taken. Yeah, definitely.

Maj Duckworth: [00:32:59] [00:33:00] Do you worry about how it'll be received, then?

Vice Beats: [00:33:02] I guess I just want it to do justice to the piece really and everything that the artists have put into it. I don't want to care about numbers and so on but I do care more about being able to give money to the James Dewitt Yancey Foundation. I want that to work. I want to be able to feel like we're making a difference to Dilla's legacy and more so to the young people they're working with because at the root is what I've always tried to do with my work and I really want that to make a difference.

Don't get me wrong. I'm not expecting there's going to be millions that I can make for this for them but I feel like anything that I can raise, then we've achieved something because even if it is a case of that can fund for a workshop for a day that can inspire a young person to go and make music that otherwise they wouldn't have done, that's an achievement.

  It's [00:34:00] really nice to kind of come back with something where it's not just a single or a remix or something little or trying to get some beds under an interview and now it's kind of complete project of being able to say, "Yeah, I've genuinely achieved something, and I now can move forward from that point, and actually expand this and look back at those other thing and think, 'Right. How can I refine that? How can I make that better,' and just see where it    goes."

 

  Maj Duckworth: [00:34:35] there are the timeless tribute was released on diller's birthday, 7th of February, 2020 with all the proceeds going to the James Dewitt Yancey foundation. It features a whole host of incredible. So go check out, thank you to vice beats for sitting down with me and being so patient in her long. Wait for this interview to come out and thanks to Andy kettle for organizing the interview.

I'm Maj Duckworth, and this has been Sample Nation. [00:35:00] You can find me on www.majduckworth.com.