What kind of music did you grow up within your home, the ones that most inform your music today? I was in a band called Into the Clouds and was playing the flute in it. It wasn’t very much of a cultural center for artists when I was growing up. There were a lot of different artists that came through, but there weren’t many interesting artists doing interesting stuff in Cleveland. I feel like it was either very pop/punk stuff or old-time stuff. My mom took me to a festival when I was two or three called the Burning River Fest with KC and the Sunshine Band. My first concert I ever went to was a Jet concert. International affairs seemed kind of just the most generic, culturally interesting. I was only playing saxophone and flute and I didn’t know if I wanted to literally be a saxophone player.
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Music was on the top of my mind, but I was not sure how to meet that. What made you want to study international affairs?Īt the time I didn’t really know what I wanted to do. So, there’s different methods but a lot of time I’ll start ideas from a beat, or sometimes I’ll start it from lyric, or sometimes it will be from melody. So, I try to make sense of everything from a grand scheme. Everybody has ideas but they’re not always cohesive.
That is the one thing that I learned from college - the thesis and how important that is. It’s always different, but a lot of what I’m doing is always leading back to a concept, the thesis. When you’re writing a song, do you find that you’re working through your own emotions or do you already come to the table having figured out what you need to put to paper?
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