Surrender to the Process with Jon Batiste and Suleika Jaouad

28 Jan 2026 · 1 h 6 min · 28 chapters

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In short

IMO Podcast Episode Notes: "Surrender to the Process" with Jon Batiste and Suleika Jaouad

Episode Overview In this episode of the "IMO" podcast, hosts Michelle Obama and Craig Robinson are joined by musician Jon Batiste and writer Suleika Jaouad. They discuss their creative processes, the importance of support during difficult times, and the significance of embracing one’s journey. The conversation is candid and insightful, touching on personal struggles, successes, and the intersection of creativity and resilience.

Key Themes & Concepts

  1. Creative Journeys
  2. Jon Batiste and Suleika Jaouad's Meeting:
  3. They met at a music camp during their teenage years, both finding a shared passion for the arts amidst personal challenges.
  4. Discussion on their unique cultural backgrounds and how they influenced their paths.
  1. Personal Growth and Change
  2. Suleika Jaouad's Health Journey:
  3. Discusses her diagnosis with leukemia and how it reshaped her understanding of life and creativity.
  4. Emphasizes the importance of following curiosity over societal expectations.
  5. Jon Batiste's Evolution:
  6. Shares insights into his artistic journey and the idea of music being "inevitable."
  7. Highlights the essence of authenticity in creative expression.
  1. Support Systems
  2. Mutual Encouragement:
  3. Batiste and Jaouad support each other through health challenges and creative endeavors.
  4. The idea of partnership serving as a foundation through adversity.
  1. Journaling and Reflection
  2. Journaling Practices:
  3. Suleika’s upcoming book, "The Book of Alchemy," explores the art of journaling as a tool for introspection and creativity.
  4. Both hosts discuss their experiences with journaling, its emotional benefits, and how it can help clarify thoughts and feelings.
  1. Navigating Life’s Challenges
  2. Fear and Vulnerability:
  3. Discusses the impact of illness on personal relationships and the importance of open communication.
  4. The concept of viewing life as a series of "coming of age arcs" rather than a linear journey, encouraging listeners to embrace change without fear.

Discussion Highlights

  • Cultural Backgrounds:
  • Suleika shares her experience as a first-generation American and how her diverse heritage influenced her identity.
  • Meeting at Band Camp:
  • The nostalgic recounting of their first meeting, illustrating the importance of formative experiences in shaping their creative paths.
  • The Power of Music:
  • Jon discusses the spiritual connection to music as a universal language and a source of healing.
  • Illness and Creativity:
  • Suleika reflects on how her illness forced her to redefine success and seek joy in the small moments of life.

Advice for Listeners

  • Embrace Vulnerability: Acknowledge fears without allowing them to dictate your actions.
  • Create with Intention: Focus on what feels authentic to you in your creative work.
  • Value Self-Care: Establish practices that prioritize mental and emotional well-being, such as journaling or creating to-feel lists.
  • Seek Support: Build a network of individuals who uplift and inspire you during challenging times.

Conclusion This episode of "IMO" is a blend of heartfelt storytelling and practical advice, emphasizing the importance of surrendering to the process of life. Batiste and Jaouad exemplify how resilience and creativity can flourish even in the face of adversity, making this discussion both inspiring and relatable for audiences facing their own challenges.

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To submit questions or feedback, visit [imopod.com](http://imopod.com).

Written by AI. May contain mistakes. Listen to the episode to check what was said.

Chapters

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Introducing the Guests

0:59 to 1:45

Michelle and Craig introduce Suleika Jaouad and John Batiste.

“I mean, I want to sort of get right into this day because we've got two guests today.”

Creative Backgrounds

1:45 to 4:10

Discussion on Suleika's and John's creative journeys and early influences.

“So Suleika Jawad is a writer, artist, and author of the New York Times bestselling memoirs, The Book of Alchemy, A Creative Practice for an Inspired Life, and Between Two Kingdoms.”

Cultural Experiences

4:10 to 6:10

Suleika shares her multicultural upbringing and its impact on her.

“Ended up realizing very quickly that that path was not for me.”

Meeting at Band Camp

6:10 to 7:45

Suleika and John recount their first meeting at band camp and related experiences.

“So I remember on the first day of kindergarten and showing up and not speaking a word of English and feeling very much like an outsider.”

Musical Influences

7:45 to 10:50

John reflects on his early musical development and family influences.

“But it was Don McCormick, a family friend of ours.”

Sibling Dynamics

10:50 to 14:00

John and Suleika discuss their sibling relationships and family dynamics.

“But I remember John was so shy that I really don't think we spoke to each other.”

Sibling Dynamics and Childhood Memories

14:00 to 16:50

Explore the dynamics of sibling relationships and childhood experiences.

“But I remember when we were kids, she would always come home with a new offering of tutelage for us to partake in.”

Cultural Assimilation and Family Roles

19:43 to 21:45

Discuss the pressures of cultural assimilation and family responsibilities.

“I felt like the translator of this American culture that we were trying to assimilate into.”

Finding Your Path Through Education

21:45 to 24:15

Discover how education and friendships can shape identity and future paths.

“I found one the other day and it said, talk to the hand.”

The Inevitable Nature of Music

24:15 to 28:00

Understand the concept of music as a natural expression of creativity.

“Maybe not for current me in the school setting that we were in, but for future me.”
Show all 28 chapters

Redefining Self Through Adversity

28:00 to 29:14

Discover how Suleika Jaouad navigated her identity and purpose amidst a leukemia diagnosis.

“about any music that I partake in, I try to make it tuned into that pure source.”

The Journey of Curiosity

29:14 to 30:30

Explore how following curiosity can lead to unexpected paths of creativity and expression.

“And I started keeping a journal in the form of a 100-day project with my friends and family.”

Collaboration Through Shared Experiences

30:30 to 31:30

Learn about the shared experiences of Jon Batiste and Suleika Jaouad in facing life’s challenges.

“that I was using it like a reporter's notebook.”

First Encounters and Awkward Moments

31:30 to 34:04

Hear the story of Jon and Suleika's initial meeting and the quirky moments that followed.

“When we talk about being a misfit, John doesn't fit into a box.”

Fashion and Artistic Identity

34:04 to 36:20

Discuss how fashion choices reflect personal identity and creativity in the music industry.

“Because I have been sleeping on a cloak.”

Living with Creativity and Chaos

36:20 to 38:29

Understand how Jon Batiste's creative lifestyle was intertwined with challenges and spontaneity.

“So you saw this happening on the subway and you were like, that's my dude.”

Navigating Relationships in the Face of Illness

38:29 to 41:38

Explore how Jon and Suleika navigate their relationship while dealing with illness and life changes.

“But I wasn't cooking back then, so it was probably not very good.”

The Certainty of Life and Love

41:38 to 42:01

Reflect on how facing life's uncertainties shapes the couple's understanding of love and time.

Embracing Life's Certainties

42:01 to 44:15

The conversation reflects on illness as a reminder of life's brevity and the importance of meaningful relationships.

“Yeah, I think if anything, you know, the illness is just for us a good reminder of the one certainty that we all share, which is that we are born and we will die and we are here for a very short period of time.”

The Power of Letter Writing

44:16 to 46:04

Exploring the significance of letter writing in deepening communication and understanding within relationships.

“So you exaggerate in the midst of the emotion.”

Journaling as Self-Discovery

46:05 to 47:59

The guests discuss their journaling practices and how it aids in self-reflection and emotional clarity.

“It can be for two minutes, 10 minutes to ground myself, to write my way back to myself.”

Documenting the White House Years

48:00 to 50:36

Michelle Obama shares her unique approach to documenting her experiences during her time as First Lady.

“But what I did do for the White House years, because I knew that this was a unique time, and things were, you know, I always say it's like we were shot out of a cannon.”

Addressing Family Health Concerns

50:37 to 56:00

The hosts respond to a listener’s question about balancing personal health with family responsibilities.

“Well, and I think so many of us are living in a state of overwhelm.”

Health Awareness and Responsibility

56:00 to 56:48

Learn about the importance of being intentional about health, especially as a caregiver.

“it wasn't until i was in my mid-30s and i started uh i became a head coach where we had our own sort of team doctor that I was like, I got to start.”

Navigating Fear and Uncertainty

56:48 to 59:24

Discover how to acknowledge fear while pursuing personal goals and relationships during challenging times.

“you no longer assume structural stability.”

Reframing Self-Care Practices

59:24 to 1:02:06

Understand the importance of prioritizing self-care and emotional health to support caregiving roles.

“I start with, in my journal, I'll start with a to-feel list before I get to my to-do list.”

Modeling Care for Others

1:02:06 to 1:04:05

Learn how caring for yourself can empower others to do the same while fostering healthy relationships.

“And sometimes the best way to care for someone is to model care by caring for yourself.”

Celebrating Connections and Creativity

1:04:05 to 1:05:08

Reflect on the significance of connection and creative expression in fostering personal growth.

“Yeah, it's such an honor for us to get to have this kind of a conversation.”
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Transcript

Automatic transcript. May contain errors.

0:28Well, let's get it going. Michelle and Craig Show. Yeah! I am old. Michelle and Craig Show. Ow!

0:52This episode is brought to you by Theraflu. How are you? I'm good, Craig Robinson. Exciting day today. Yeah, yeah. I mean, I want to sort of get right into this day because we've got two guests today. And you know these two, and I'm just getting to know them. Dear friends, we've gotten to know them, worked as people might know that we were co-producers of American Symphony. Wonderful piece of work, and I'm not just saying that because I'm related to you. Talk about two creative forces in so many different ways. I want to hear about how they met. Yes. So I'm really excited. But Craig, you are always in charge of doing the proper introduction.

1:43Yes, I am going to do a proper introduction. So Suleika Jawad is a writer, artist, and author of the New York Times bestselling memoirs, The Book of Alchemy, A Creative Practice for an Inspired Life, and Between Two Kingdoms. She writes the number one literature newsletter on Substack, the Isolation Journals, and in November of 2025, she released the Alchemy Journal, a companion piece to the Book of Alchemy. Along with husband John Batiste, Suleika is the subject of the Oscar-nominated and Grammy Award-winning documentary, American Symphony. And John Baptiste is a seven-time Grammy Academy Award and Emmy Award winning singer, songwriter, and composer.

2:32His ninth studio album, Big Money, is nominated for three 2026 Grammy Awards. Just keeps ragging them up. Including Best Americana Album. In 2021, Batiste released We Are, an album that carried nine Grammy nominations and five wins, including Album of the Year. Batiste accolades also include an Academy Award for Pixar's Soul and seven-year tenure as band leader and musical director of The Late Show with Stephen Colbert. So without further ado, let's introduce John and Suleika. Come on out. Come on out. Welcome to IMO, my dear, dear friend. How are you, babe? Thank you for being here. You guys settle in.

3:22Can you squeeze in there? We've been looking forward to this. Yeah. All the way, all the way. Well, thank you guys. No, I wanted to put this. I didn't know if I should put this in the official bio, but also fellow Princeton grad. Well, yeah, that's right. So Laika is like a legend on the campus when we went over there. You graduated top of your class. You showed them a thing or two. I think we both grew up in households where education was the priority. But we also had these musical paths. And so for me, I actually did not graduate from high school. I thought I was going to be a musician. Ended up realizing very quickly that that path was not for me.

4:17What was it about that path that made you realize quickly? So the deal with my parents was that I could drop out of high school to go to pre-college Juilliard where we both went. And I had to take at least two days worth of college classes at the nearby campus in my hometown. And for the first time in my life, I had the freedom to study anything I wanted. And so I was taking classes like women in literature and a class on Nabokov and modern dance. And I realized how much I loved the expansiveness of just being able to leaf through a course catalog and get to just imagine all the possibilities.

5:00And that music, as much as I loved it, felt narrow. And as a bass player and a classical musician, there wasn't a lot of opportunity there for me. So that's how I ended up making that change. And I'm glad for it. Can you talk about your childhood growing up? You have an interesting, eclectic, diverse, multicultural experience. Can you talk a bit more about it? Yeah. So I'm first generation American. My dad is Tunisian. My mom is Swiss. We grew up moving around quite a bit until the age of 12 and settled in a small town in upstate New York. What was the reason for the moves? I think they were both trying to kind of find their place.

5:48All of our family is in Switzerland and Tunisia. But the job opportunity for my dad, who was a college professor, was here in the U.S. And so I think like a lot of kids who grow up first generation in an immigrant household, there's the culture you live in at home and then there's the culture outside of school. So I remember on the first day of kindergarten and showing up and not speaking a word of English and feeling very much like an outsider. My brother was in ESL in English as a second language. And he came home from school one day and said to my mom, I'm the dumbest kid in my class. And she said, you're not dumb.

6:33You just don't know the language yet. And so as beautiful and enriching as it was to have this multicultural interfaith household, I think as a little kid, all you want is to be normal. You want to fit in. And so it took me a long time to embrace that feeling of being a misfit. But John and I actually met in that town upstate when we were about 12, 13 years old. This is the band camp, right? At the band camp, the infamous band camp. How did you wind up at the band camp, John? At a band camp in upstate New York. Saratoga Springs. That's up there. Saratoga Springs is not New Orleans, Louisiana. That's right.

7:21I'm telling you. I remember going there and I saw Sulika wearing Birkenstocks. That was the first time I saw somebody wearing Birkenstocks. A 12-year-old. It was, I was, dang, this is like very granola, hippie vibe. I heard about this. I heard about this vibe. Interesting. But it was Don McCormick, a family friend of ours. And now it's just somebody so special in our life. But at the time, he was the guy who would come to our high school and scout, who's the next one? New Orleans always produces these great musicians. Who's the young kid that we should look out for? And he came down one summer.

8:12I was in ninth or 10th grade, and he came to the class, and they pointed to me, and I was too afraid to play because I was very shy as a kid. Even up in the high school, I didn't like to be. Still, that's a whole other conversation. We'll get there. When we got to the time to play, I said, no, I don't know. So he couldn't pick me because he didn't hear me, and he went, picked somebody else from the class or somebody in the neighborhood. And he came back the next summer, he said, now, I've been hearing about you for a year. You got to play. You just got to play for me. And I played for him, and then I get accepted to this camp.

8:54The first time I'm leaving home, seeing something for myself without the influence of my parents or my big sister or my cousins or whatever. Right. It was life-changing. Camp is a deep, this is a veiled advertisement for band camp. You meet your person and you see the world. Pretty girl in Birkenstocks. I'm saying, everybody loves you. From the first, everybody to camp. But no sparks there. You just met. Well, you all were 12. Yeah, we're kids. I was 12, John was 13, 14. Yeah, no sparks. You were too shy, really, to talk to me. Was this band camp, was band camp sleep away? Talk about, were there bunks?

9:41Were there bathrooms? Were you all just carrying around your cellos? Or did you swim? Were there bathrooms? What do you mean were there bathrooms? No, a lot of times, you know, you've got an outhouse situation, right? Wait, what year is this? I think this is 1940s. Were there bathrooms? Was it a camping experience or was it, were you at a school in a college? It's true. It was sleepaway, but we were in the dorms. Okay, all right. Okay, you were in dorms. There's got to be some place for the instruments. No, I don't know. They might have them dusted out by the campfire. I don't know. That's hard to try to get a feel for that.

10:20She really did graduate from Princeton. She really did. No, you're wrong. You're wrong, Greg. Oh, my goodness. For me, it kind of was like that, though. It was kind of like the boonies. Okay. Okay. Well, so there was a jazz camp, which Sean was in. There was an orchestra camp, which I went to. Ah, got it. And a ballet camp. I got it. I got it. So this was a college camp, not like sleepaway camp. It was a college campus. Sleep in the dorms, no outhouses. No, no, no. But I remember John was so shy that I really don't think we spoke to each other. We met. Because was he talking to anybody? No. You just came.

11:01What were you doing? What did you think when you got dropped? Did you get dropped off or were you just given a ticket? You know, I've been working. I've been working in the last, we've been talking about this for some years, but I've been working actively to remember the first 15 years of my life. Because it's all a blur. Why is that? I remember certain things, but I think I was doing some processing, some observing, some processing, checking out what's happening and trying to understand how to engage with the world and engage with my talents and engage with all the things that it felt like every other week I was evolving into something that I didn't even quite know where it was going.

11:49So I was trying to figure that out. But what was yours? Tulika, on the other hand, was always... Yeah, she was always her. This fabulous specimen here. It's unbelievable. Just always so eloquent and charismatic. I remember she was going through the woods with the Birkenstocks and the bass. And on my way to the outhouse. Okay, you guys. It's not funny anymore. No. But what I remember about John, he really was in his own world. But that end of summer recital, John played a solo. And it was like the entire audience took in a collective inhale. You'd been playing piano for a year or two at that point.

12:43Not very long, two years. Yeah, when I started at the... Wow. Oh, so what did you have to play in order for him to hear you? Were you playing a different instrument or were you just playing the piano? You've been playing piano for a year the first time he came, maybe. Yeah, yeah. So I started going to the New Orleans Center for the Creative Arts. Great. You know, a lot of relatives went there, a lot of the great musicians, jazz particularly. So when I started going to NOCA, I was about a year into me playing the piano. So by the time I was at the camp, I was maybe two years in. I started playing piano.

13:21I was 11 or 12 years old, so about 13, 14. I had been playing for about a year or two. And yeah. Self-taught or sort of family osmosis? Well, you come from royalty, New Orleans music royalty. They were pretty solid in music. Listen, there was a lot of musicians growing up. We were here, you know, my dad was my first musical mentor, but it was actually my mom who, she's just, she has a clairvoyance to her. She has a deeply dedicated, intelligent woman. Okay. But I remember when we were kids, she would always come home with a new offering of tutelage for us to partake in. Lessons, tennis lessons, gymnastics, coding.

14:12You can go to this chess camp. But you are a piano player. And I'm going to take you to these lessons every Saturday morning. And if you like it, we can continue. How did she know you were a piano player? That was the clairvoyance. That's the... Got it. Got it. She saw it. What was it like with your siblings? I mean, Sulayka is the older sister. And I'm the younger brother. I was going to say it's the great gift and burden of being the eldest. Yes. That sense of responsibility. Yes. Yes. But it was definitely a reverse of the dynamic. You know, we went to, at the time, there was corporal punishment in our school.

14:54And I remember one time there was a thing that something happened in the class where I got caught up in, you know, there was a class clown who was my best friend, Keon. and Kian was doing, he would dance like Michael Jackson behind the teacher's back. And he would get to a thing. It would be amazing. But then when the teacher turned around, he would always be back in his seat. And he was doing that once and he got me to get up and do it. And I did it and we got caught. So then they sent us to another class where they didn't have a board handy, I guess, for the paddle that we were about to get.

15:35So we went to my sister's class. And she was sitting there. And as soon as she saw me walking, she was like, what are you doing in my class? And then they lined us up. And her teacher gave us the wagon. I was like, I knew she was going to go home and say, you'll never guess what happened at school today. Guess who I saw. Guess who I saw. Little Nancy Wilson. Guess who I saw. It was you. Getting your ass whooped. We reported on each other. So this is also a thing about younger, older siblings. You didn't have to talk because other people were talking for you. That may be part of it. I don't know if you found that, Tuleka, with your siblings.

16:32Did, you know, you had the poise? Did you find that your brother just sort of laid in the cut, as we called it? Because Sulayka's going to figure it out, and I'll just observe.

16:50This episode is brought to you by Theraflu, makers of fast-acting cold and flu relief. Since 2021, TheraFlu's Rest and Recover Fund has provided more than a million dollars to families to help offset the cost of a sick day. We had IMO listeners share stories about how paid sick time has impacted their lives and wanted to share a few of them with you. Many of our listeners are a part of the sandwich generation, meaning they are responsible for taking care of their kids and also their parents or in-laws. We had one listener share that they have had to take sick time for their own recovery and then also simultaneously care for their grandmother, which made it hard for them to fully rest and get better.

17:39I think this is something we both can relate to with caring for our mom. And even now for me, that my in-laws are living close by. Yeah, that's for sure. I mean, but I'd say that we are way more blessed than our mom was because we had resources. I mean, this is, I think, what Theraflu understands. I mean, being a part of the sandwich generation when you don't have the resources and support means something totally different. We saw that with our mom because, as many of you know, we lived in our home with our great aunt and great uncle as they aged. And our mother was in that sandwich position where we saw her caring for our aunt and uncle as they aged while we were still pretty young.

18:28And I just remember those times with her being so exhausted, not just physically exhausted, but just exhausted by the worry of all what turned out to be 24-hour care. It's too much for a generation to bear. but thanks to Theraflu and their work, their support out there. And there's another listener who shared that she is a single mom who doesn't have paid sick time. She said that she has no choice but to work when sick because she can't afford not to. Yeah, yeah, that's for sure. Theraflu knows that resting and recovering when sick can be especially difficult for parents and caregivers who aren't just responsible for themselves, but also the loved ones they care for.

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19:42You know, in a weird way, I felt that way on behalf of my whole family. I felt like the translator of this American culture that we were trying to assimilate into. And I felt this maybe outsized sense of responsibility to get everybody on board as if assimilation was some kind of family project that was going to ensure our safety. So I feel terrible about it now, but my mom, you know, would mispronounce a word and I'd immediately correct her. Or I, I remember she, you know, she would, she's probably the most thoughtful person I know, but she would make us these beautiful lunches and I'd get, and she'd write a little note on the napkin and I'd get to school and I would immediately put it to the side and put it in the trash.

20:38because I knew I was going to be made fun of for our chicken tagine and couscous or whatever it was that we had for lunch that day. And with my brother, he was so shy. He got bullied a lot in school. I felt really protective of him. So I do think in some ways, yeah, that there's truth to some of the things we associate with birth order. But also the first generation piece of it all, which, you know, as us American kids growing up and Americanized black kids, we had our own assimilation going on. But you make a wonderful point that you're trying to help your parents who don't know the culture. They don't speak the language perfectly.

21:25And you're taking on an outsized responsibility to make sure that they don't stumble or fall or get hurt or get made fun of. And you're just a child yourself in that process. I remember keeping lists of vocabulary words that I would learn at school, like American idioms. And I'd write them down, memorize them, practice them until they sounded somewhat natural in conversation. I found one the other day and it said, talk to the hand. Oh, yeah, that's a good one. On forward means loser. And it was like a whole cheat. Wow. A little crib notes. She can shake for myself, exactly. It's like this talk to the hand.

22:10Talk to the hand. Now, how would you explain that to your mother? Probably, yeah. I don't know if I was explaining it to her. And we'd be like, huh? And you know, the thing I appreciate so much, and we were both raised by such strong women who I think were really unique to have an example of someone who didn't really care what other people thought. My mom would come and pick us up at the bus stop on cross-country skis wearing a backwards baseball cap, which, you know. And you guys were just like, I don't know her. I don't know her. Please never do this again. And now I just think that's the coolest thing in the world.

22:52Oh, that's neat. Serious, making it happen. Come on, living just enough for the city. There you go. There you go. Yes, making it happen, you know. So when for each of you do you think as in your youth, did you break out? When did you feel like I got this? You know, I'm no longer the misfit. I had a really, right before I met you, 12, I went to the movie theater with my mom and I saw this movie, Julia Roberts. It's called. Julia Roberts. Mona Lisa Smile. Oh, okay. And all the girls on the first day of class had already read the textbooks. And they were beautiful and fashionable and cool. And more than anything, they led with their intelligence.

23:46And I went home and that was one of those light bulb moments you can have as a little kid. And the next day I'd been hanging out with these sort of cool kids in my grade who were in fact now looking back, not very cool, kind of mixed up in the wrong things. And I walked straight past them in the cafeteria and I went to the library and I found this girl in my class who lived down the block from us who was top of our class. And I said, can you teach me how to study? And I, every day from that point forward during lunch, sat with this new friend and realized, you know, being smart is actually the coolest thing that I can do.

24:28Maybe not for current me in the school setting that we were in, but for future me. And that's going to be my path forward. Yeah, I remember the way that you, in that time when we met, felt like the world was open. It was wide open. You could feel that. For me, I love the title of your book because for me, it really resonates with coming out of my shell are not really having one moment, but are becoming. A sequence of a thousand decisions that culminate into this moment and then a thousand more from this moment forward to the next moment. And ultimately at the center of it, a strong intention to do something that's bigger than yourself and to want to be, to create something that's resonant for people in a way that's profound and is the highest manifestation of your gifts and moving through the world to the point where I remember the years just before I started doing the Late Show.

25:44There was some of the best years of freedom and expression and the possibility of what things could be. We had started dating at that time too in our early, mid-twenties. There was a period where we felt, you know, we weren't making no money, but we felt like we were on top of the world. And I think that might be the moment, I guess, but there's no moment I can't pinpoint. Yeah, I understand. John, in American Symphony, which was a beautiful, beautiful story, the two of you. But you said something that really struck with me. And I think I knew what you meant, but I'd love to hear from you. You said music is inevitable.

26:43And I mean, that show choked me up, the whole thing. Tell me what you meant by that. Because I think I know what you meant. Well, I should say, I know what it means to me. Yes. But I want to hear what you meant when you said that. There's a power to what we do. It comes from the divine stream of consciousness where all creative comes from. And we're the vessel of the creative. We put it out into the world. And when we're true to that, there's a purity to that connection. There's a purity to the expression. and each note and the next note and the next note and the next note that comes, it's inevitable.

27:30It's the only thing that could have happened because we have not tried to change it or manipulate it for personal gain or to commodify it for efficiency and scale. We've not tried to lie. When we hear music, that's why we love it because it's inevitable. It feels like life. It feels like divine alignment. And that's my belief of, with the symphony, about any music that I partake in, I try to make it tuned into that pure source. Now you too, Sulika, dealt with a little pushback in redefining yourself. Talk a bit about that transition. for you. Yeah. You know, I think when you're a kid, there's this notion of a coming of age arc.

28:28And when you get to the end of that arc, you'll have answers and certainty about who you are. And I'm now of the opinion that life is just a series of coming of age arcs. There's no there there where you get to a place and you're like, this is who I am. This is what I'm doing. and if you can surrender to that and enjoy the process of discovery, then it becomes exciting and interesting. So I had a lot of those. When I graduated, I wanted to be a war correspondent and about a year after graduation, ended up in the hospital and I was diagnosed with leukemia and I stayed in that hospital that first year.

29:16I think I spent about eight months as an inpatient and those moments where maybe you've invested everything into something and it doesn't pan out for reasons that may or may not be beyond your control can obviously leave you feeling defeated. And for me, especially at 22, when you're watching your friends on social media starting careers and traveling the world and getting married and all the other big and small milestones of early adulthood, it's easy to feel like you're uniquely stuck. That summer, I started for the first time in my life, not doing things from a place of self-imposed expectation or thinking about what was practical, but just trying to follow my curiosity to be, as our friend Liz Gilbert says, 1 % more curious than afraid.

30:21And I started keeping a journal in the form of a 100-day project with my friends and family. And I realized in the course of keeping that journal that I was using it like a reporter's notebook. And that while I couldn't be a war correspondent in the way that I thought, I was reporting from the front lines of my hospital bed. And so that ended up leading to a blog, like the good millennial that I was in 2011 when blogging was all the rage. And that led to my first time ever being published in the form of a weekly column. And so I think for both of us, we've been the recipients of great abundance and also great heartbreak.

31:15And the work of learning to surf those peaks and valleys without letting yourself get stuck in defeat has been our ongoing work. and John's been such a great inspiration to me. I mean, yeah. When we talk about being a misfit, John doesn't fit into a box. He like explodes the box and then draws a whole different shape for himself and then he erases that and draws a new one. When did you guys reconnect? Oh, yes. Now we're talking. Yeah.

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31:58Exactly. So Don was basically doing exactly that when I reconnected with him. I was 16 at that point. It's my first month at Juilliard. And I saw him on the wind train. I had no idea that he was at Juilliard. And he was dancing and singing to himself with big old headphones on. and everyone in the subway car was staring at him. Like, what is going on with this guy? You gotta be who you are, man. And I turned to my friend Michelle and I said, I know that guy. That's John Batiste from Bandcamp. And then out of nowhere, I said, that's the man I'm going to marry someday. Really? I have no idea why I said it.

32:44Didn't think of it again. We reconnected. And you hadn't thought of it prior? Nope. And I didn't think of it after. You didn't walk out of band camp thinking, ooh, that John. He said not a word. I felt a thing. I felt something with that one. You were still in your gloriously awkward phase. Oh, yeah. Okay, what was he wearing? I don't remember what he was wearing that particular— I remember the headphones. Were they a color? You were in your Converse sneaker era at that time. You were trying some things at the time. oversized suits. Yeah, yeah. Had three suits. Three suits, that's right. I would take drawings to a tailor and they would be like, well, we can't make this, but we can give you the textiles to make it.

33:34So then I would buy the textiles and then I'll bring them to a tailor that I could afford to make the stuff. And then they started making suits. So I'll play shows and I'll take some of the money from the gigs I'd take to the tailor and I'll start making my own clothes. So I started making my own clothes and buying Converse that matched the suits. What colors were these? Canary yellow. Of course, I knew. I knew it. Fuchsia pink. Remember that? I remember. I can. Why did I know? I remember all of them. One had tails on it. Oh, yeah. Like tux tails? Straight up tails. Yeah. Okay. Cloaks. Cloaks.

34:13Cloaks, of course. Don't sleep on a cloak. No. No, no. Don't sleep on a cloak. Really? Because I have been sleeping on a cloak. I have been sleeping on a cloak. There's something to it.

34:38So you're in the subway. Yeah. Did you consider this your subway attire, performance attire? Sometimes. Just going to the, you know, the Dwayne's drugstore in it. You know, it was performance at times, but it was more than that. It was a form of expressing the identity that we were discovering in the sound, in the look. And it was just how I was when I was walking around in the world. You know, I remember I would go to vintage shops and thrift shops and, you know, I would put stuff together. and I started traveling doing some performances where I discovered some tailors from different parts of the world and they had different textiles and all kinds of stuff you could use.

35:26So that opened up a whole nother thing. But yeah. And what was the sound at the time? Was it your jazz band? Was it straight jazz, old school jazz? I didn't have a term for it, so I made a term. I called it social music. Social music. And the band's name was Stay Human. Okay, yeah. That was the philosophy. And it was a mix of the idea of social music was really music from all of the different folkloric traditions of music before music was commodified. and how do you take all of those different traditions, study them, find the different dots that you can connect between them and bring it into the 21st century.

36:15So that was my vision. I was lofty. Yeah, sure, you still are. That's what makes you beautiful. You gotta be yourself, you see. So you saw this happening on the subway and you were like, that's my dude. You know, it was one of those things that you blurt out, don't know where it comes from, you don't think of it again. And it wasn't until our mid-20s that we really started dating. And it was such a beautiful time in our 20s. And I think your band name, Stay Human, is really an encapsulation of what I love most about you. You were just so open and just so incredibly creative. I'll never forget the first time I went to John's apartment.

37:06It was like a sight to behold. Tell us. There were mantras written on the ceiling and on the walls. I remember above his bed, he had written a list and it said, pray, drink water, phone home, have fun. It was suitcases, looked like an airport terminal because he was constantly playing shows and on the road and would come home and not unpack and have his next suitcase. Was this in New York? In Washington Heights, piles of books. First time I had dinner there, it started to rain and there was a flood of water coming in through the window. And I was like, how long has this been going on for? And he was like, since I moved in.

37:57And I was like, how long ago was that? And he said a couple of years ago. You just let it rain in your house. Yeah, exactly. But you were just... It's fine. It's just water. You were just living in the world of your creativity and your determination to do what your band was called, to stay human and to figure out what that meant. But did he cook dinner that night? He did cook dinner. In his water-filled apartment? He did. He made red beans and rice. You don't remember anything. I cooked red beans and rice. It wasn't good then. Was it good? It was. There's your answer. That's interesting. I can cook now.

38:52He's a great cook. He's the cook of our family. But I wasn't cooking back then, so it was probably not very good. But you were dazzled. I was dazzled and I was totally befuddled by John. He was unlike anyone I'd ever met. And I remember that first week we went to a park and John sat me down and he said, what are your intentions? Which nobody had ever asked me before. And we had this conversation, it was a couple hours long, where we talked about what it was that was, important to us, but the terms of the relationship were. Oh, I love it. Yeah, just very, like, no games. Right, just to get to the point.

39:41Get to the point. Figure it out. And what was going through your mind? Did you say Sulayka? Sulayka, you call her Sulayka. Why do you say Sulayka? That's how I started saying it. And you told me you liked it. So I just, I love it. I just kept. I said I like it. What were you thinking when you saw her again? I like it. See, now I'll never call you anything else. But I was thinking that it felt monumental. It felt like that conversation was like a major turning point. How did you guys think about building your lives together? Because by then, you had been diagnosed. You understood the messiness of it all.

40:31How did you two in real time negotiate that? And how do you continue to negotiate it? Well, I think it's in the vows. You just decide that we're in it, however it needs to be set up. And it's going to be ever evolving. You know, it's going to be a range of different realities that we can't predict. so let's exist with the commitment that we made and move however we need to move knowing that we're not quitters so you gotta know that the person you're with is not going to quit and if you know that the logistics you sort that out just gotta know that we're in this and that's that's my true north and I think we've figured out a few different there's an equilibrium to having this illness and not letting it define giving it only the attention that it deserves it's not a defining characteristic of our life it's just that's here okay and we do what we need to do with that but everything else is also here.

42:00Yeah. Yeah, I think if anything, you know, the illness is just for us a good reminder of the one certainty that we all share, which is that we are born and we will die and we are here for a very short period of time. And so I think it's changed our relationship to time in a way that I'm grateful for and doesn't feel unique to us or to my illness, but that does change the way we move through things. Because yeah, when you made a vow, the big shift for me is, yeah, there's no longer that question of, am I in or am I out? But if this is the person I'm going to be with. How do I move forward as productively as possible?

43:00Because we are not only sharing our lives together, but we'd like to enjoy our lives together. And John really early on in our relationship had this idea that instead of writing in a journal and doing our individual journaling, we'd write them as letters to each other, which we do especially when we're apart when we're both on the road for work and it was so interesting because there are things that would come up in these letters that would never come up in the quick phone call where you're like how are you how was your day are they letters texts real you know pen to paper or any form of we've done pen to paper on the road where you take a picture of it.

43:47Oh, nice. Or if in person, you know, you write, and then we trade books, little journals. But, you know, that's letters. It's the spirit of the letter writing. So I think it has to be right with your hand. It's not a text. Yeah, it's a very different thing. It's not a dictated note. Right, I guess. So, um... Yes.

44:13but like you said having the time to the writing part of it for me for me I still write you know everybody asks me what is it should we still go high I get that all the time I get it now and I have to explain and re-explain that going high is about communicating with intention and strategy that doesn't mean you don't feel the emotion but a lot of times the emotion isn't the truth. So you exaggerate in the midst of the emotion. You always do this. You never do this. But when you write it down, you start thinking, well, always isn't actually the right word, right? Or you people, you know, that's not really what I mean, right?

44:59It's how we raise kids. Count to 10. You know, I mean, going high is counting to 10, you know, and writing in a relationship is like counting to 10. Give yourself a moment to understand what you really feel and mean and then have that be the source, the beginning of the conversation. Right. Yes. Our friend Esther Perel says, what you need to say is not always what they need to hear. And sometimes, like I know for me, I don't even know what I'm thinking or feeling until I start writing it down. And it takes me, you know, a page to get through all the emotions to actually get to the heart of the thing.

45:42Yeah. Well, that gets us also to journaling, right? Which is your project, your book. So, Leica, would you talk a little bit about what you've produced thus far? Yeah. So, I've been keeping a journal my whole life. For me, it's always been this hiding place and seeking place and finding place. And just this daily practice that I do. I know you talk about small powers. Just something I do every day. It can be for two minutes, 10 minutes to ground myself, to write my way back to myself. but I found that I was kind of getting bored of the sound of my own voice. And so I started to find ways to prompt myself.

46:36So this book, The Book of Alchemy, is a meditation on the art of journaling and a synthesis of this approach to journaling. And it has a hundred essays and prompts. Do you journal? So I don't journal by the typical definition of journaling. So I started my professional career in investment banking, sales and trading. So I had to keep a diary every day of what I did. It was really transactional, if you know what I mean. And so I never really journaled my feelings about Craig Robinson. Yeah. And now since my mom passed away, I keep the small little book in my backpack so that when I think of things that remind me of her or the kids do something that I try and remember, I have to write that down.

47:41Now I have something I can write it down. I'm of the opinion that there are no rules when it comes to journaling, But I know you had a journal that you kept in your 20s during a tumultuous time. My teens and 20s, I had a journal, you know, sporadic. Barack was a big, big journal. He has a lot of written journals. But what I did do for the White House years, because I knew that this was a unique time, and things were, you know, I always say it's like we were shot out of a cannon. and how do you keep track of all of that? And I just literally did not have the time to put pen to paper, but I knew that I needed to capture what was going on.

48:34So what I did do was that I worked with a dear friend of mine, a law school buddy of mine who was a dean at a law school. We were very close. I trusted her, smart woman. She, a friend would come in twice a year and it was a way for us to catch up and stay in touch while I was first lady. But she agreed to interview me. I needed to say out loud some of the stuff that I was feeling. And so she would come in with prompts that she had gathered watching me in the news and what was going on. And I always would have her talk to my chief of staff and schedulers just to get a sense of what literally had happened over the course of that six-month period of time.

49:23And then we did a series of interviews that after each one, we got it transcribed. I did not read them over, but it's there. For eight years, we collected the stories of emotions and that material became essential when it was time to write Becoming. Wow. Because you know how life is when life is moving so fast. Just like you say, you don't remember any of your teens, right? And a lot of that is because you've packed so much life in. And that's what it was in those eight years. I mean, I would look up and, you know, make a comment like, oh, I'd love to go to Prague. It sounds wonderful. And my chief of staff would say, you've been to Prague.

50:08I was like, no, I haven't. You know, I had a discussion with my staff. They were like, you participated in a sit-in at law school. I was like, no, I didn't. And they were like, no, I think you did. I was like, I absolutely have no recollection of taking over the dean of students office and sitting in. I said, I would have remembered that until they showed me a picture of me. So what, you know, but I had no recollection of it. And I didn't want to go through eight years forgetting really major things.

50:51Well, and I think so many of us are living in a state of overwhelm. Well, I think we're grateful for this project. And I think this is the best time in the state of the world for people to start journaling. For me right now, the journaling happens through a need to write a speech and to communicate. I find that that's when, you know, I'm putting pen to paper. So I think I'm going to take on one of the challenges. I love it. And see where it goes. As long as Craig commits to do it with me. You know what I'm going to commit to do is the listener question.

51:38well we oh yeah okay we'll talk about this we'll talk about that afterwards post-production

51:47this question is from Sharon I've lived with multiple sclerosis for 10 years and I worry about the effect that it has on my family I have a teen daughter who is so supportive of me but I also am concerned that her needs might be lost in all of this. I definitely want to prioritize balancing my own health, but also carry the load for my family. For Michelle and Craig, when you were growing up, how were you affected by your dad's illness? And if you've ever been sick, how do you build in self-care? How do you prioritize what you say yes to when it comes to family, work, and everything else in life?

52:24How do you preserve yourself so that you can feel good about the days you're having with your loved ones. Sharon from Atlanta. That's a lot there. Misha, I'll let you go first. Well, how did dad's illness affect me? Because I think we're all individual in the way these things affect us. And I wrote about it in The Light. You know, I think having the father, the center of our household, be clearly vulnerable to us, right? Even though he was persistent, defiant, strong, you know, didn't really claim it, never talked about his illness, you know, because I think he was probably trying to project a level of certainty and security that maybe he hadn't come to grips with.

53:15So we didn't talk about it a lot, but it was staring us right in our faces. You know, our father was different. But there was also a sense of vulnerability that you live with that can make you hold back. But at the same time, I think our parents pushed us out at the same time. I don't think they wanted us to think of the world by their limits. Because I think they were limited. From a socioeconomic background, our parents were working class. They couldn't go to college because they had to make sacrifices. They, you know, they had to work and earn a living. So their worlds got smaller as a result.

54:04And they didn't want that for us. I think for me, a lot of that is consistent, except I operated from a place of fear. I was fearful. I was fearful of vulnerability. I was fearful of catastrophe happening in the house. I was afraid of fires. I was afraid. I was always afraid. And I think I operated out of fear. So I was successful out of the fear of not being able to provide. And this is a great question because I've never really addressed it. but I was sitting here listening. What if you would journal? Yeah, there we go. Here we go. I know, John. This is the show, man. This is the show. This is the show.

55:02And from that fear, I think my parents saw that in me and the pendulum swung back over. And I think while they did push us to do stuff, they were more successful in pushing you to do more than they pushed me because I was reticent. I was the oldest. I almost didn't go away to college. And it wasn't until my dad was like, I'll be okay. I'll be okay. Because he knew I was always worried about him. and when the second part of the question is how do you do you how do you handle your own self-care for the longest time i didn't because i was fearful that i'd find out that i was gonna have some malady and it wasn't until in it wasn't until i started it's like if we can laugh at it now but it wasn't until i was in my mid-30s and i started uh i became a head coach where we had our own sort of team doctor that I was like, I got to start.

56:15My wife, Kelly was, you got to start having, getting regular physicals. And I was in my late thirties, early forties when I started having physicals every year. But now I think having children has made me more cognizant of being intentional about my own health in order to stick around for those guys. Right. I relate so much to that. I think, you know, when you've had the ceiling cave in on you, you no longer assume structural stability. You're kind of living on fault lines. and that can make it hard to push yourself out into the world. I know that for me as someone who has sat both in the caregiver's chair and who's right now going through treatment, I just finished five days of chemotherapy right before coming here, I have to actively figure out how to be in relationship with the fear that's there because it's there I've tried ignoring it I've tried compartmentalizing it and when I do that I find it looms even bigger and to acknowledge it but not let it be in the driver's seat and and I've had to figure out how to allow myself to do things that feel risky, to say yes to the invitation, to make the plan, even if I don't know I'm going to be well enough to do it, to, you know, undertake writing a book that takes two years and you don't know if you're going to be able to see it through, to prioritize time with friends and family.

58:18And so I think for me, one thing I think of a lot is in periods when I've been at my sickest and I've had maybe only two or three good hours in a day, it's been a very specific kind of clarifying exercise in that when you only have two or three good hours, you get really clear about what you want to do in those two to three hours, who you want to spend it with and what's important to you. And right now I'm feeling good. I have lots of energy, but in the morning, sometimes I'll think to myself, if there are only two or three things I could do today, forget my to-do list, what is it that would make this day a really good day?

59:07And the other thing I do as someone who loves a to-do list like you, I love a list. I'm the person who at the end of the day, I'll add things to my to-do list that I've already done just so that I can cross them off and feel that sense of satisfaction. I start with, in my journal, I'll start with a to-feel list before I get to my to-do list. And it's just like, whatever it is, I want to feel rested today. And then I write a couple of ideas of how to get myself there. And I actually make whatever that self-care is part of the list. And it's attached to the feeling that it produces, not to the, you know, I have to go to the gym or whatever it is.

59:52It's going to make me groan and want to avoid it. I'm more likely to get myself there. Wow. I love that. Yes, as a caregiver, that's important as well. Caregiving can make you feel the need to, I'm just going to power through. Yeah. But your body keeps the score. So you know that, well, after a certain point, you realize I have to do something to maintain this role. And you have to make it be something that you're motivated to do. So finding those emotions and not just emotions, but the practice of self-care. As the same with the craft of making music, I find that there's a practice to self-care.

1:00:42you gotta go in the woodshed as we say musicians you gotta learn what's the techniques and it's very much a shift in perspective that you don't have to martyr yourself in service of those you love in fact that's a disservice to those you love it's the internal world what's it feel like in there? Do we need to renovate? Do we need to, maybe we need to - Is there a whole bunch of water coming in your window? Maybe so. It might be a little leak. Gotta patch that up. Well, I know I did learn that from watching my parents martyr themselves on both sides, mom and dad. But I did work. I think I have worked hard as an adult to find that balance, if only to show my daughters a different balance.

1:01:49Because if I want them to change, I can't show up like my mom, who it's like I'm taking care of everybody, and I put myself fifth on my priority list. Yeah. People are okay. They can do without you. Yes. They can. And sometimes the best way to care for someone is to model care by caring for yourself. I think about that all the time with you. It's not selfish or indulgent to take a moment for yourself. It's actually a way of giving permission to the other people in your radius to do the same thing for themselves. John, how are you taking care of yourself these days? and what's on your to feel list.

1:02:38My to feel list? What's on my to feel? I'm in a vibe. I want to feel vibey and free. You know, a lot of times we have self-imposed pressure to respond. And that could mean anything. I mean, just to respond, to act versus to just take a pause and sit with something. Even if everything is telling you This has to happen now. Everything is in fact totally fine. So I'm in a very deep on a cellular level. I've gotten to a place of fortitude and the chaos and comfort and taking the time, exactly the time it needs for me to show up. As the best version of myself. Yeah. Yeah. And everything else. I like that.

1:03:41It continues to run, believe it or not. Feeling the vibe. Well, that's a perfect vibe to end on. Yes. Yes. I really appreciate you guys being here. Man, yeah. It's been a fantastic discussion. Thank you for making the time for this. It really means a lot. I love you guys. We love you both. I really, really do. Yeah, we're grateful to have you in our lives and just to have this beautiful, beautiful opportunity to have conversation and celebrate your great work, my love. Yes, so proud of you as always. Yeah, it's such an honor for us to get to have this kind of a conversation. It's really such a gift.

1:04:28The honor is ours. Well, everyone, the book of alchemy, plus your journal, and I'm getting mine. And I'm going to challenge myself to start a new journal series for myself. So thank you. Thank you for bringing this. And she's going to bully me into doing the same. I am definitely going to. All I have to do is your list. Yes. I like the list. Thank you. Well, maybe you're doing a to-feel list for you because I want to know what you're feeling. Hey. I feel like you leaving me alone Just keep it vibing Keep it vibing Hold on

From the publisher

On this episode of IMO, musician Jon Batiste and writer Suleika Jaouad join the podcast! They tell Michelle and Craig about the surprising place where they first met, their creative processes, and how they have supported one another through illness. 


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