Janelle Monàe and Nate Wonder: World Happiness Day Bonus

33:19I love it. This is great. I love this because I do not like going to the grocery store. No. Come on, man. You go in there, you hear hollering those. I was that kid. My mom used to have me in a grocery store way too long. I was like, I'm ready to go home. So anyway, but when I would go and I see like black women at the grocery store smiling, it just makes me feel a certain way. Yeah. And sometimes it would be like when a certain song would come on, it would be like you see them singing their song. And it's like, man, so good. And Janelle, of course, has like done so much work as a leading voice in terms of activism, in terms of being on the right side of history, in terms of speaking it up for marginalized people.

34:05Early to early. Always. It's been her herself. but but I also was thinking about how much that can weigh on a person and I told Janelle I said I really like for your next I would really love I would love to see you smile more like I would love to just see you smile like it really would mean so much I think that you smiling is a really special thing I love when I see you smile and I would love to see what that energy is to like really put that into a space. And I hadn't really considered that. And I looked at all my album covers and I was like, I'm really not smiling. Did it kind of fuck with you for a second?

34:47Yeah. I was like, what? What is going on? From the Ark Android to Electric Lady to Dirty Computer. And if you look at the cover for The Age of Pleasure, I am right in this pool, swimming, topless and smiling. Yeah. You know, it's a layered idea, but I do think that giving somebody something that makes them want to smile is its own resistance. It's its own protest. It's its own like giving people affirmations is its own version. It's a certain form of work. Yeah. It's a certain type of healing. and so is pleasure like yes it's like i want you to smile it's like to your point then too it's like i don't know i fucking smile like i went topless in this pool right yeah and smiled yeah and it's like both of those things are yeah can be subversive can be absolutely you know what i mean absolutely it is to make an album called the age of pleasure in the middle of a pandemic is a subversive piece of art because it is just kind of being like no it's just like because there's been you know when you're dealing with so much trauma from elections to it's just so much that happens and it feels like your energy when you wake up is going to be stolen from you yeah yeah definitely it feels like it's gonna be stolen right you're like it's not yours exactly and so it it was like a big like no you cannot have all of my day yeah you cannot have all of my time.

36:28I'm going to take some time to enjoy life as best as I can under whatever the circumstances that I have are. I'm going to try my best to do what I can to appreciate this moment as simple as it may be. And what I think that we were finding in the writing process was that just having time to hang out with your friends was the thing that we needed the most. just seeking time to appreciate each other to smile at each other to laugh with each other to do like the simple stuff with each other felt like this is like worth my time way more than whatever that other thing was that was driving me and de-centering my joy yeah yeah yeah i mean that's what that stuff does right like when you think about racism when you think about sexism when you think about homophobia, all of it.

37:23It literally, in addition to just being pure evil work, it distracts you from living your life because you spend so much time fighting. And I definitely found myself, and I know I'm not the only one. There were so many of my friends and people who were out marching. You have to understand, George Floyd had been murdered. It was so much. Breonna Taylor, it was so much. And I was working with Say Her Name and I put out protest music. It was so heavy, man. And I was like, somebody has to do the work. But I think balance is important. And what I was realizing is I was not getting the balance that I needed.

38:00And so once we made a decision to not center white supremacy, to not center, you know, all of the things that, again, come to distract and destroy and stop us from just living our lives as humans having this earth experience and be clear and stand on that. that's when I feel like the songwriting got focused yeah and with this project I said I want to make music for that community for that community of folks who suffer time poverty like they don't have time poverty is a great phrase it's a it's a real thing in our community people don't have the time or the leisure time to just be yeah you know what I'm saying to just be one with their friends or their families because you're spending so much time working you're spending so much time I'm fighting.

38:45And it's like, when do we say, okay, well, we're going to carve out this little space for us. And so I said, I want to create music that we can all listen to, take with us, hold with us. That is the balance in everything that we're dealing with. And if the people that I invite over are not dancing to these songs, if they are not moving, if they're not trying to Shazam, if they're not asking who is that, then it's not working. yeah it's not like i want them to really really really really love this music obviously i we have to love it right but it was so important that the community of people we were right writing it for loved it yeah and um that's how we put together the age of pleasure we had nana quabana who worked on some of the music who was also a dj and our friends with everyday people i don't know if you know about everyday people parties i've not been but i know yeah yeah like i have to give a shout I'm just entering my age of pleasure.

39:42So I ain't I've been working too hard in my desk. I have to give them a shout out because during the pandemic, they couldn't find a place, you know, to have their parties. And when I say parties, it's not just like I mean, everybody's dancing and singing and having a good time. But people are feeding each other at the parties like their food vendors. It's the diaspora. It's Pan-Africanism from around the globe, from, you know, Nigeria, Ghana, the Caribbean, Jamaica, Atlanta, New York. LA and Cape Verde like all in one place it's just nothing like going to their parties and so when they asked they had come by Wonderland they were like you know they were having a hard time getting a space and we were like come here let's figure it out because we're going through it too like not being able to see people like how can we do this and that was a big Was it a vibe where you had to know who was coming?

40:36For sure it was very small Because that would be a little yeah it was we needed to know it was small and it was safe yeah safe and small and and that's where the music was tested first hearing all the backstory i'm just gonna say it because i feel like it's even in the music like a more human album it's funny because as we're moving into an age now of more the future looks a little bleaker in terms of technology i feel like you might have called that a little early and and it feels like the project away from computer and ArchAndroid and Metropolis and like this, it feels like Janelle the person, you know?

41:17Or it feels like to me listening to it, like I even just feel myself coming alive more, just feeling more me, you know what I mean? I know a lot of people who've listened to the record, a lot of friends, a lot of people the same. Like it makes them feel a particular way as a living creature, you know? Yeah. You know, from the beginning, there was this conversation around android rights yeah and cindy was always being was always fighting to be perceived as a human and to be respected as a human so i guess there's a certain truthfulness to people being like yeah you're human and kind of being like yeah finally i mean that the definition of of an android and if you're listening and you don't know any of my work it's rooted around Cindy Mayweather, who represents the other, and the other is a parallel.

42:07You know, the android is parallel to black folks, to, you know, marginalized folks that I want to amplify the voices I want to amplify and the music I want to write. The definition of an android is a robot developing human characteristics. So I really think it tells such a continuation, a beautiful continuation of the story and and it's not finished it's very trippy to see because when I put out Metropolis we were reading The Singularity is Near by Ray Kurzweil and if you haven't read that please do but it talks about this moment that we're having with AI and it talks about the singularity of like not being able to differentiate AI recording a song by Janelle Monet or Janelle Monet, really mapping out that voice.

42:54And it's so interesting that it's happening now. And when I think about the album, how I hate to say it, we knew that when this moment of integration happens, humans were going to be frantic about it. As you can see right now, it's a lot going on in my business when it comes to using the likeness of an actor's face without paying them. Like AI is in that conversation heavily and people are afraid and they're scared. And I totally get that. And I also think that there needs to be more conversation and more laws and things, rules to really be agreed upon because not all humans are bad and not all AI is bad.

43:38So I think there needs to be a real conversation around who's programming AI. But the thing that I realized in knowing that the singularity was going to happen was that it's nothing like that human to human connection. It was so important for us to gather and have experiences that cannot be created by AI. We can only have these, the barbecue experiences, you know, sharing food together, wrapping our arms around each other, being there for each other in these times. These are moments that that humans have such a deep connection to and can talk about in ways that I can. And that was my hope, too, is to encourage more community, to encourage people to be with each other.

44:25Like our stories are all we have. It is our stories that will set us apart and continue to make us believe in humanity again. Yeah. How have you guys, you know, playing guitar on the steps? Barely finishing college, having to shell out some money to do it. You guys found each other. Over those years, you guys have amassed a body of work, all very different from each other, genre-less, as you said from the beginning. Money comes, success, time, new people, new relationships, new opportunities. It's incredible to me that you guys have managed to stay close. There you go. Yeah. I don't think that happened.

45:06You guys are going to bait out the Rolling Stones. It's not like if you separate the legal entity of the Rolling Stones, you know, it's like, y 'all have no real responsibility to each other. But we do. But we do. Yeah. But that's very, I'm happy that you brought that up. It's so true. And when I look at some of the collectives and, you know, we don't have to dig into names, but even some of the most iconic collectives ended up not working with each other anymore. And I just remember the time when they were and how that felt and how I felt when it wasn't the case anymore. And I just it always was important to me to nurture my relationships.

45:47Like I invest in people, you know, not because they're of course, everybody is very talented. But I think they are really, really great people who happen to be very talented. And when you come from a big family like me, I have 49 first cousins. so I was brought into a community you know that runs through my blood and it's loyalty and it's growth and transparency and communication and all those things yeah and respect as somebody who has ideas obviously I'll always have the final say if we're working on something with what I want to do you know on my music but I love listening I love being able to hear how Nate's mind is working to hear how Chuck's mind is working, what Sensei Bueno is thinking, no, no.

46:32Like, I love to see how they interpret certain things and how they sharpen my sword, you know, when it is time to creatively fight for an idea. So I love that. I love what this community has done, not just for me before the rest of the world quest love pulled us aside a few years ago and he was like listen man you guys have something really really special but just so you know the most important thing you guys can do like just trust me on this just stay together just stay together like i and he went through his stories of like what happened like all the things that happen to you can change you but just know that you guys have something very special and it's worth protecting stay together don't get distracted by whatever else comes yeah just stay together and the other thing is that we have this um credo a wonderland credo that was written a long time ago like very very early and And in there, it discusses our responsibility to each other and to our broader community, but specifically to each other.

47:52How we need to take care of each other, how we need to look after each other. Those basic things are written into our credo of how we understand Wonderland. like at its foundation it must at least be a community where artists can be taken care of and thrive and of course challenge each other on our ideas but that we feel at least safe to have our ideas yeah that's how you make your best music again when you feel safe with the people that you're with like when you feel like you can just go there and try new shit out like fall in love with music fall in love with art and i think that's what we we love at our core first of all you guys are living the dream i mean that you guys found each other yeah it's unique individuals you guys are let me tell you this it is hard work it is not easy art is hard everything depending on what process you're in art is hard it can be frustrating and just like you can lose your confidence and second guess yourself or you could be having the best time of your life you wake back up and listen to that demo or you wrote the net the night before you're like oh this shit is fire like thank god and you play it for people outside you know who were not a part of the process and you get that feedback it can be disappointing or it can be like yes when do you start playing stuff for people is it usually like earlier in the process or is it like early i try to play as early as possible i like people sitting in the studio when i'm working on music i gotta feel something yeah he's different i don't know that's but but with age of pleasure I was more open.

49:30But with all my other albums, I would be in there engineering myself. I engineer myself a lot on this project too. Yeah. Just because you wanted to be just in by yourself. Exactly. When she goes in, yeah, it's like, close it and Janelle will go in there and we'll engineer. And then I'll call them back in like once I have all my takes that I feel like are highlighted and good or I'll ask them to highlight in green like which ones you think are the best. But I'm always searching for that feeling and sometimes I need to be alone I want to get that feeling. Yeah. We're going to pause for another quick break and then come back with more from Nate Wonder and Janelle Monae.

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53:21Beautiful that on the album Dasper is like Really represented from Shayon Cootie Yes To Sister Nancy Grace Jones Patra, Nia Long Amore CK Doji Horns Unlimited From Atlanta to Ghana to Nigeria to Jamaica And so on All our friends on there Talking King, yeah. The interloubs, where did those come from? Corey Henry. From us. So, the French 75 is us in New Orleans during Essence Fest, not this year, but last year. And we were, we had woke up and we started talking about the night that we had. And it was my first, it was like my first time getting beads. And so, if you've been to New Orleans, you know what getting your beads means.

54:16Like, it's so fun and it was so liberating and just really, really cool. the uninitiated i mean maybe there's some who don't know i know right i guess what does it involves you going down on in the french quarters and if you lift your shirt up they would throw you some beads and it's a part of the new orleans culture fun and it was friend because as somebody who's like oh my god i'm famous i can't do these things i'll end up and nobody even really posted it until like years later then no no no nobody found it actually nobody found that video maybe be one person no no no no not not my beads oh oh i've done that on several occasions no it's not really the beads one too yeah oh i thought okay well that's awesome it made me smile remember i said this album we are smiling this this season we are smiling and with that being said i wanted to just have authentic conversations with my friends and i just asked him it was okay if i press record and it's just it was authentic because the people who were there they're really my friends and so to have these conversations with the people who are directly involved in like inspiring the songs and the song writings they were all in the studio when we were writing them they were the first people that i think everybody on the interlude they were some of the first people that heard the songs yeah so when we did float to champagne shit those were the lipstick lover the like when we were writing those songs i always looked at how they moved I always looked at the body language.

55:45I always looked at like when they would go play other artists songs. Would they ask to play this song again? Because I liked their taste and I knew that they were like key in helping us nurture that audience that we wanted. Like what were an example of something you might have tweaked? So you're looking at your friends playing them. They might not quite groove the way you're expecting. Yeah. So what do you do? You just go back in and. You know what? I don't feel like we had a lot of those moments with this album. I know one song that that happened with and we just changed the song. We were in the middle of trying to figure the song out.

56:21It was hot. Oh, wow. You changed that one? Yeah. Wow. That went through a lot. There's actually a David Bowie vocal that was supposed to go on that. It was a quote from an interview that he had done. Right after Janelle says, they say I look better than David Bowie in a Moon Age dream. there's this quote. I love that line. Because I think Edward had taken us to the movies to see Moon Age Daydream. Because he knew Janelle was a huge fan. Oh, you took everybody to see. I took Edward Norton to go see. Okay, I'm sorry. You took everybody to see the David Boyd film Moon Age Daydream. Did you say you took Edward Norton?

57:02Yeah, because we had just so when we wrote The Age of Pleasure, right before that I just filmed the Glass Onions. And we were in Greece and Serbia. And I was having Nate send me music there. Yeah. Because I was like, when I get back, I'm writing this album. Yeah. Wow. I'm writing this album. I'm so inspired. I know I'm clear on where I am, who I am and what I need to do. And so he sent me all the musical, some of the musical beds and I picked what I loved and liked. And as soon as I got back, I was in the studio. It's poetic that you're working on the Glass onion and you're probably clear about who you are what you want to do it's like why are you in this let's pull back the layers let's pull back the layers yeah yeah so david boy quote it says i think it's terribly dangerous for an artist to fulfill other people's expectations if you feel safe in the area you're working in you're not working in the right area always go a little further into the water than you feel you're capable of being in.

58:07Go a little bit out of your own depth. And when you don't feel that your feet are quite touching the bottom, you're just about in the right place to do something exciting. Yeah. So that was the end of that was the quote that was on the in the record. We should put that back in. It was great. But of course, like when you're at a party, you may not want to go into the like. Yeah, it was just like. Cerebral. I'm sure Bowie appreciates not being the one to fuck the party up. No, that film, I don't know if you've seen it, but it was really. Incredible, Doc. It was amazing. I wasn't expecting it to be.

58:42Because this is somebody who, like myself, you know, is a world builder. Yeah. And somebody who believed, like Ziggy Stardust in The Spiders From Mars gave me the courage to do Cindy Mayweather in Metropolis and the Archandroid. and to create these versions of ourselves, you know, these thousand versions of myself. And we're all fine as fuck. That's, if you don't know, that's from phenomenal on the age of pleasure. Sorry. So, so, so to be able to watch him say, I know that I could be Ziggy Sardust for the rest of my life, or I can become more of who I am and give you that and not be afraid, you know, to break it down and rebuild and reimagine who I can be.

59:27So that really also helped inspire me as well. Did you ever get a chance to meet him? I feel like I did. I feel like our spirits absolutely met each other. I know that he knew who I was because I did a cover of Heroes. And his wife, Iman, told me. And he had to clear it. And his wife told me that he really loved me. And I was like, oh, I wish I could have told him how much I really loved him. But I think he knows it. They are aware. Yeah. Yeah. Did you pretty naturally fall into, I mean, 2019, you're feeling like you want to start writing for women, people, color, non-binary folk. Was it easy to slide into that mentality?

1:00:08Was it easy to like. I felt compelled. And again, when I feel compelled, I'm like, oh, man, I'm doing it. Was it a messy start? Did it feel always right or natural? Fill myself playlist. Yeah. Oh, yeah. That really encouraged us. We were definitely both of us had the same thought. So we were listening to Spotify. We had an opportunity to listen to a lot of music. I start back working out and there were a lot of black women on this playlist that were just like sounding extra liberated and super tapped into their well of honesty and truth and sensuality and sexuality and grit and softness and hardness.

1:00:48And it's like I loved hearing that all on one playlist. And it encouraged me to tap into my many different sides. And I think Nate would see me listening to Filling Myself playlist around the studio and as I was working out. And it was like, I've never remembered. And that's the beautiful thing with playlists. You can really curate your own world, your own soundtrack. And when I felt that vibe, I was like, I want more of this. And I want the people that are listening to this who are feeling like they have not been able to walk in their greatness as black women, as non-binary folks, as marginalized people.

1:01:27They haven't been able to really own all of them. I want to lead by example and I want to highlight them. I want to highlight them by creating music that speaks to their hearts. Yeah. Yeah. You know, I got two daughters and I don't want them to feel ashamed of pleasure or whatever. Yeah. Like as they get older or not, it's like, yeah. But society for so long. Yeah. And it's still that it's still a lot of work to be done in that area. But, you know, one of the things I noted was that playlist, like when you go to like a rap caviar or the other like big hip hop, the biggest hip-hop playlist sometimes they'll even have like a woman on the cover but then you go through the actual playlist it literally out of a hundred songs it might be like three songs by women and it really i just took so much issue with it yeah i was just like this is wild yeah like literally they'll put megan the stallion on the cover of it and then i have to go like down 30 songs to get to her song.

1:02:34It's like, this is crazy. This is wow. And that was another reason why we wanted to make sure that black women were represented on this project. Yeah. Generationally. From Dolce to, you know, the king of Jamaica, Grace Jones. Grace's album's really album. Come on. Exactly. Ridiculous. Let me tell you, I spent 72 hours with Grace Jones. That's how we got her on the album. I was going to say, how'd you get her? She came right over there. She don't move. I'm still like just bowing down to her. 72 hours with her. 72 hours. Where I was like, oh my God. How did that come together? So I went to her concert at the Hollywood Bowl and I ended up, she was somehow, it was like one of her last songs and they were calling people on stage and of course I'm going to jump on stage.

1:03:24And if you look online, if you look online, you will see. I've seen that video. There's video of me running through Grace Jones' legs. Her smacking my ass, us dancing, like just being the free spirits that we are. And I had met her years back, but we didn't really get to connect. And she did call me. She called me years back and I was so shocked. I was like, how does she even get my number? And she just called me and she told me she loved me. And I was just like, I love you. But we never got to connect again after that. I think maybe she changed her number or, you know, maybe she just went to another planet for the springtime.

1:03:59Who knows? it's grace jones and so when she came this time though we went backstage and we really connected and she she was just like hugging me i was hugging her and and she was just saying you know i'm in town for a few days we she invited me to her hotel where they had like a small little gathering to celebrate her incredible performance live if you ever get a chance go see her she nobody nobody touches her i regret not going i was supposed to go to that you always you just always say yes and so that night when we went back to our hotel I was like you know I had you know I had to leave and I just said I'm just gonna invite her to Wonderland what what she can just say no and if she says no I'll be like yes Grace Jones told me no yes that's so great and so I said listen um I have to leave but I don't know you know what your schedule is tomorrow but I would love to have you for lunch at Wonderland at our studio and she was like is there a pool there and I was like indeed there is a pool and then she was like okay i will call you i'm gonna come and i just i was like okay and i was like she says this to everybody i'm sure because she doesn't want to hurt anybody's feelings and she called she had she had her assistant text and asked if it was a heated pool if they yeah because she swims every day is her exercise and i asked them well what does she drink What is she like?

1:05:25Like, I'm scrambling. I'm like, how am I going to host Grace Jones? Everybody sent her to the grocery store. We need to have a meeting. Right. Go to the grocery store. What are we doing? And he sends me this list like her wine list is immaculate. Her champagne list is immaculate. And so she came over and we really had lunch and we really got in this pool. She took her top off. Just I mean, I know we're talking a lot about all of the toplessness, which which is really great. because as we know we live in a world where there's a double standard yeah you know where the liberation that grace has been able to do did not come with open arms yeah you know it came with a lot of scrutiny this is somebody who was raised under a pastor you know who was a bishop and in a very conservative community and for her to say i'm gonna live my motherfucking life and to show us Because that, like, that was all I needed to see and hear.

1:06:20And she really, by being her and by hanging out with her and her encouraging me to be me and sitting in the studio listening to the songs, like, her getting up dancing and moving and telling us which ones she loved and what, like, her hearing the instruments and talking about that. Like, she is a musical genius. It was all the affirmation I needed. First of all, her taking off her top in your pool is a real. Legendary. What an honor. you know what I mean that you curated it's just a typical Tuesday for her yeah but then so then you pull in the studio when she's listening you asked her to yeah I was like I told her I said I would love to get you you know on my project she was like okay well where is it and I was like well since you asked there's a studio right in here and so we went in there and but I will say recording Grace Jones because I had to wrangle her in it is like having the most beautiful panther in the studio that then turns into a tiger that then turns into like a bird with the biggest wings that will flap around and you just you cannot contain that energy you just have to have everything on record and get what you can wow you know what i'm saying like you don't you can't really tell her what to do but even in the moments where i was like okay can you do more of this or do more of that or no say it like this or talk french because she speaks french fluently and that's And that was the thing that stuck.

1:07:43That's what I made it. I said, oh, that's the sexy shit that I want on this project. Because I don't think we've really gotten a chance to hear her in that way. And we've actually recorded more. Like, I have at least two hours of recording with Grace Jones. Definitely. Can you guys make an album out of that, please? I really, really want to. She's working on her album, which is going to also be incredible. She played us her album. Like, I got to hear Grace Jones' album. We did. It's really beautiful. Wow. That's incredible. well man you got i mean the fact that you went as far as to pull grace jones in the studio for your album nothing we can say but thank you there's nothing we could say but thank you and congratulations on not just the grammy but congratulations for that but just what i've seen to do to people's spirits over the last eight months you know uh that's all we want it's incredible.

1:08:35That's all we want. Thank you so much. Can I ask not to put you on the spot, Nate? Sure. I love We're Far Enough From Heaven. Oh my gosh. You are a Deep Cotton fan? I fucking love Deep Cotton. Oh my gosh. And y 'all pulled the EP. I don't know where the fuck the... I lost my copy of Love. I love this. You are... I knew I liked you, but now I love you. I love Deep Cotton. This is my shit. This song is... I feel like I don't even... I don't know how to explain my love of this song. It's so good. It's really good. We're far enough from heaven now We can freak out There's a world under your zipper And it wants to freak out You can join here Bang bang Uh We're far enough from heaven now We can freak out There's a world under your zipper And it wants to freak out There's a killer in the hall And he's marching it off Bang bang Go his jaws And he's hungry for more You can see it, you can feel it, let it all to your head Might as well kiss the monster, laugh the fuck till you're dead Young Nikashi, oh I got this brand new idea Let's take up further's mansion, tell some stories in here Who can cook, who can clean, who will paint the fence?

1:09:51Who can cook, who can clean, who will paint the fence? Who can cook, who can clean, who will paint the fence? I will, I will, I will, I will, I will, I will And we're far enough from heaven now We can freak out. Yeah, we're far enough from heaven now. We can freak out. Yeah, we're far enough from heaven now. We can freak out. Yeah, we're far enough from heaven now. We can freak out. Freak out. La, la, la, la, la, la, la, la, la, la, la. This is such a fucking crazy song. It's so crazy. You have excellent taste. I love it. Y 'all got excellent taste. That's fine. He cotton. I love it. I love it.

1:10:26When I heard their song, actually, when Nate was saying, he met me performing on the library steps with the guitar i was heavily just like on some acoustic big afro i guess you would say neo soul vibes and when i heard their music it changed my whole life it changed the way i saw us i love it because i hadn't seen i mean with the exception of like andre because nars barkley wasn't even around yeah at that time but with the exception of like the love below and what andre was doing and you know some some some indie artists in atlanta nobody was stretching it and is sounding good like it was either too alternative for me to get to you know to get into and there was no melody there was no soul but when i heard their stuff i was like it was up temp there were like up tempo records that sounded like japanese funk i don't know that's the best way to describe it and all I knew is like I want to make music like that and so that I really have to credit Deep Cotton for why I like up-tempo songs and why I make up-tempo music and stretch when it comes to genre.

1:11:33The textures are incredible no one really no one really plays like acoustic like that like on like an up like it sounds like some Frank Black like it's like whoa it's like these weird bizarre like phrases. And Chuck is an incredible writer like him and or their partnership. It's crazy. We actually are finishing our album right now. We actually just got the album cover done for it and everything. It's amazing. They coming out with an album. Shit, my dreams is coming true. I cannot believe. Ten years I've been waiting. Yeah. Yeah, I love that song because I love the line, who can cook, who can clean, who will paint the fence.

1:12:11I mean, there's so many other things about the song that are great, but also who can cook, who can clean, who will paint the fence. because it takes like this idea of like taking over the mansion and tell some stories and then all that kind of stuff which is cool idea right but then like it's the responsibilities that you have to each other like who's who can cook who can clean who paint like who's doing the real work that it takes to like stay alive so we can you know take over this mansion and tell some stories I love it thanks so much guys thank you thank you so much thank you so much this is beautiful incredible

1:12:47Thanks to Janelle Monae and Nate Wonder for the invite to Wonderland to chat about her latest album, The Age of Pleasure. You can hear it, along with our other favorite songs of Janelle Monae's and Nate Wonder's, on a playlist at brokenrecordpodcast.com. Subscribe to our YouTube channel at youtube.com slash brokenrecordpodcast, where you can find all of our new episodes. You can follow us on Twitter at Broken Record. Broken Record is produced and edited by Leah Rose with marketing help from Eric Sandler and Jordan McMillan Our engineer is Ben Tolanay Broken Record is a production of Pushkin Industries If you love this show and others from Pushkin consider subscribing to Pushkin Plus Pushkin Plus is a podcast subscription that offers bonus content and ad-free listening for$4.99 a month Look for Pushkin Plus on Apple Podcast subscriptions And if you like this show please remember to share, rate, and review us on your podcast app.

1:13:44Our theme music's by Kenny Beats. I'm Justin Richmond.

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