The Power of Diverse Influences: A Conversation with Flobama

For episode 113, ever wondered how a beat maker infuses the traditional sounds of live drums with modern synths? Join us, as we spend an enlightening hour with Flobama, a versatile beat maker and live performer from Austin, Texas. His journey, from creating unique beats to becoming an educator in the music industry, is an inspirational tale of creativity and perseverance in a highly competitive field.

Our conversation traverses different aspects of music, drawing on influences from classical to hip-hop. Recounting his own journey into music, we delve into the transformative power of diverse influences, including Tribe Called Quest and Blackalicious, that ignited his passion for hip-hop. We also discuss the profound impact of social media on the music industry, teasing apart its potential as a tool for promoting music rather than purely a career path.

This episode also spotlights the stories behind Flobama's music, from his childhood in Japan, to beat-tapes like "Vol 1", "Strong Style Slaps", "H-E-Beats," and his recent release, "Happy Accidents". We talk about his experience working with a management team . We wrap up with a focus on Flobama's expertise in the intriguing world of finger drumming and sneak a peek into his future plans. This is your chance to delve into the mind of a creative Beatmaker, Collaborater, Educator, Live Performer and more.

Intro Music: Pass The Dutch by Les Lockheart, matt​.​e​.​j, pres​.​morris, tvkii, whknws_ from Organic Beat Sessions Available Here:

Featured Episode Music from Flobama's Music Discography (Available Here)
Social Media: @flobama91
Website: https://linktr.ee/flobama

Transcript

Speaker 1: 0:01

What is that sound, you ask?

Speaker 2: 0:11

Welcome to the Rec Show podcast, a show dedicated to beat makers around the world. Kick back, relax with the host, Golden Mind. Ladies and gentlemen, this is the main event of the evening. This is the first time I've been to a show dedicated to beat makers around the world. This is the first time I've been to a show dedicated to beat makers around the world. This is the first time I've been to a show dedicated to beat makers around the world. This is the first time I've been to a show dedicated to beat makers around the world.

Speaker 1: 2:27

This is the first time I've been to a show dedicated to beat makers around the world. This is the first time I've been to a show dedicated to beat makers around the world. This is the first time I've been to a show dedicated to beat makers around the world. This is the first time I've been to a show dedicated to beat makers around the world. This is the first time I've been to a show dedicated to beat makers around the world. Today, I'm going to show you guys, how I make a beat. Alright, this is my sample right here in the clip. Let's chop it up. All right, check, check, one, two piece of love. Everybody. Go to mine here for the Rex show podcast.

Speaker 1: 5:03

Happy to be with y'all again, man, excited. It's December, man. We got less than you know what I mean. What's that? 10 days, less than 10 days, or something like that, by the time this episode comes out. So for Christmas and then New Year. So 2023 is about to come to a close. Hope, everybody's excited, chilling with the loved ones and everything like that. But then also check it out, man. We still have the season four open registration happening right now for the Rex show podcast, man.

Speaker 1: 5:37

So if you are a beat maker, music producer or composer and you know, I mean you just want to, you know, be on the podcast and you got something to actually say. You got a journey, you got to get your story out. Yo, hit the link in the link tree, put your information in there. Man, invites are going to go out before the end of the year. And then the second thing is we have our annual instrumental album, slash beat tape of 2023 episode. That's going to air, I think, the 30th or the 31st, right before the new year, man. So if you got a beat tape or instrumental album that you came out with in 2023 or that you've heard in 2023, please put that in the list. There's a link for that in the link tree as well, so go ahead and do that.

Speaker 1: 6:24

But yo, enough about that, let's get to our guests. Man, we got a fellow ATXian man. Atxian, yeah, I says that's Austin, texas. I'm in it, tony. Yo, yummy, we in it, yo. So, man, I've been watching this gentleman for man, I want to say five years now. Man, I've been a fan of his music ever since he came home with the HGV HGV tape.

Speaker 1: 6:52

So I've been a lot of represent the HGV bro and got your old you already that HGV tape was crazy. I was in Japan, like yo. He came out with the HGV tape so yeah, man, I was excited for that. So I was like yo, as soon as I started the podcast I was like y'all got to have my guy on. I actually got the men meet him on a couple of pressing matters and, rather unique, actually connected us man on some live sets, man. So, yo, man, we got a.

Speaker 1: 7:26

First of all, he's a beat maker, a hip hop beat maker, a synthesis Like. He does some crazy stuff with synths. He's on a 404. He's on a Kai MPC doing these things. A live drummer. He's a live performer. He's also done some shows put together by, like blue lab beats, she ghetto DJ I keep messing up his name, but my favorite, one of my favorite groups from daylight. So he's performing with these, perform with the alcoholics, performing with cloud cord. Astro mega boom Baptist is one of my favorite beat makers as well, man, he's, yo, he's been, he's been for me. I've been on a live car with this gentleman as well. So, yo, man, without further ado, let's give it up for the one and only flow by my flow.

Speaker 2: 8:15

I'm a little bit.

Speaker 1: 8:18

I'm gonna put that on there and hey, he brought out the list.

Speaker 3: 8:22

He brought out the. He brought out the resume, bro.

Speaker 1: 8:25

Listen, man, and that's not even half of the stuff that you've done, man, like you know what I mean you got. You are like a instructor man. You teaching people how to craft beats and how to perform live on the. You know the SP's and you know, man, just yo, what you do is amazing, man. So thank you again for being on this show. Man, how you doing today, man, I'm doing well.

Speaker 3: 8:49

I'm doing well. It's the last few weeks of the year and I decided to take I normally I work pretty, pretty big hour, I wouldn't say long hours, but like early hours. I work in elementary schools here in Austin. But yeah, I decided to take these last few weeks of the year to work on beats strictly and it's been laid back, it's been productive and I've been having a good time.

Speaker 1: 9:16

Nice man, yo. So another educator, look at this man, I'm we on a roll right now. Man, another educator, you, um, philip Drummond, filthy, filthy, drumming. We got DJ Basta, we got yo, man. I think that's. That's so crazy. I think that's the direction that this podcast is kind of going, like people that is actually educating. But then, oh man, we're going to talk about that in a little bit.

Speaker 3: 9:43

But yeah, but man Okay.

Speaker 1: 9:47

So I know you're looking forward to you know the Christmas break coming up.

Speaker 3: 9:52

Yeah, educator, you know what I mean Yep, yeah, man.

Speaker 1: 9:56

So listen, I got to ask you this because you know I met you a couple of times. We never like really got in depth and like your story and stuff like that. So this is my time to get guy with you and ask you these questions that I've been building up over the last, over the last year. So, all right, How'd you come up with the name?

Speaker 3: 10:15

Flowbama. Yeah, All right. So, um, I had a roommate back in college. Uh, I went to. I went to UT for film school way back in uh, 2010 is when I started at UT and I was already making beats. At that point, Um, I was going by my previous name, which was the young master Wakizashi. At the time, I actually know I had multiple, I had multiple names. Young master Wakizashi was a, was a producer, slash rapper alias that I used with my group, hermit kingdom, which we can like go into that in a second if you want to. But, um, at that time I was actually going as DJ Jules that was my original producer name and I was.

Speaker 3: 10:59

I wasn't quite making hip hop beats yet. I wasn't trying to get more into like, uh, dance, like underground dancey, like bass music, bass, heavy dubstep inspired type of stuff. Um, anyway, I had this roommate. His name was Thad. He was this tall, like seven foot tall, white dude. Uh, classic, classic, uh, fraternity jock bro, but he was like a super at the same time. He was like super chill and stoner vibes, but he was one of the good fraternity dudes, if you know what I mean. So he was my roommate at the time and whenever I was making beats and I had a banger going on, he would walk by my roommate just going Barak flow Obama and he called me that and I just uh.

Speaker 3: 11:43

I thought that nickname was so funny that eventually, when I found years after that point, when I found found time that it was time to give myself a producer name that reflected myself a little bit more, I just thought back on what the funniest twists of my name have been. Um, if you didn't know, my real name is Florian. So like, uh, I get a lot of nicknames off of like flow, flow, Beasy, flow, Bizzle, uh, flow Rida, whatever people call me different things based on flow, but flow Obama was always the one that made me laugh the most. So I ended up just picking that as my producer name. And, uh, ever since I did that, I started uh, introducing my work as flow Obama, and people just always have a really great reaction to the name. So I think it was a good choice. And uh, yeah, that's how it came about, Heck, yeah man, that's a good choice, like that.

Speaker 1: 12:35

Yo, that name was what got me to actually check out your music. I was just scrolling through band camp and I'm like flow Obama, who the?

Speaker 3: 12:42

heck is that? That's what I'm saying. It's all branding brother, branding man.

Speaker 1: 12:49

So I was like yo let me check out this guy man that name is crazy man. So now we got the story, the internet's, now you get the story about how he came up with low bomber man.

Speaker 3: 13:01

Shout out, shout out, my former roommate, sad bro. I have not seen him since then. It's been literally like over a decade. But if that ever hears this, that's that's who. Uh, that's who came up with the moniker, bro, that's who it's been Shout out to dad.

Speaker 1: 13:14

Yo putting you on your business.

Speaker 3: 13:18

Yes, sir.

Speaker 1: 13:19

And then, and then you also, man, I'm okay, I'm, I'm just go where the conversation is going. Man, so you also, um, hosted a something called beats and wraps, where you know real little quick flips of uh MCs rapping while you're doing live finger drumming, um, with the likes of, like Cyclops, right? So if you, if you go to the internet, go to his YouTube and check out these clips, man, these guys were spitting man. But MDK, who I can't remember the the acting and what that stands for, but um, Minds of a different kind.

Speaker 1: 13:56

Minds of a different kind. Man Like how did you, how did you come up with that concept? To, like you know, let me fly finger drum and then have them spit their wraps over your finger drumming man.

Speaker 3: 14:08

That's crazy. Yeah, I was making strictly finger drumming videos, um, before that point, even um, which this is like. Before, I was even on Instagram. This is a long long time ago at this point but I started putting up the weekly finger drumming videos that I it's the it's essentially the same concept that I kind of grew big off of on Instagram. I was doing this on Facebook for a while before that and, uh, yeah, around the same time that I was doing this, I was getting into the hip hop rap scene, or the Austin rap scene, mainly through going to um, going through Austin mic exchange, which was this uh, absolutely amazing open mic night at the time, back when I was still in college.

Speaker 3: 14:52

Uh, rest in peace. Has been gone for many, many years now. But, yeah, there was this weekly Tuesday night. That was a Austin sort of open mic night for rappers and it was a huge community. Rappers came out, rappers came out, a lot of uh, a lot of musical collaborations and long friendships happened from there. But, anyways, I'd be going to this event and be meeting rappers all the time and making new friends in the music scene and the hip hop scene all the time. So I was already making these live beats. So I was thinking, uh, why don't I bring some of these homies and have them freestyle over my, over my finger drumming, and just, uh, take it a step up from there, you know, showcase it? Uh, potentially kind of figure out who I might want to collab with and uh, yeah, that's, that's how that came about.

Speaker 1: 15:40

That's what it's about. Man Like listen, that is a prime example of what the beat community can do. Man Like just connecting networking. And then you find out hey, I've rapped, you know, I like your beats. Like, let's connect. And then you just it's all experimentation man Like that's right, man, that's incredible. Yo, you had some crazy. This is five, six years ago. Internet, by the way, man, if y'all go to his YouTube's. But, man, you had, you had like freestyles from like protector Um, I think that's how you say it's protector.

Speaker 3: 16:14

Yeah, protector yeah.

Speaker 1: 16:17

Protector.

Speaker 3: 16:18

That guy. That guy, protector, was one of the creators of Austin Mike exchange at event that I just mentioned. Um, along with the former DJ of hip hop, hooray on 91.7, the former DJ of that show, miss Manners. And um, uh, third dude named Aaron, who is still involved with putting on electronic and beat shows here in Austin. But uh, yeah, yeah. So that was Protector, aka P tech, and I also had the minds of a different kind on there. We have black child, we had Chi clops. Uh, I don't remember if I did one with uh with breeze. I believe I did one with a Nick Cruz as well, and then a couple other homies I did them with man, man, I would yo, if I, if you bring that series back, man, that's going to be.

Speaker 1: 17:10

It's so many different people that's rapping right now. Like, if you ever connect with um, I'll say rather unique, but rather unique. But then also you got, uh, ah, who's my guy? Man, matt. Um, oh, how am I forgetting his name right now? That's crazy. Um, oh, man, it's going to come to me anyway. But okay, so let's, let's, let's go back in history a little bit. Um, when you were growing up cause everybody's got their, you know their, their story somebody in the house was playing music. Or when y'all were driving, somebody was playing music. Who were the people that were playing music and what type of music that you grew up on. That was like influencing you to this day.

Speaker 3: 18:02

Man. So this is kind of a complicated question, cause I feel like a lot of people, they kind of grow up and are highly influenced by their parents' music and what they play and whatnot, which in a way I kind of was, but almost in like the opposite. So let me explain Uh, my, both of my parents are, um, both of my parents are immigrants. First of all, my mom is from Germany, my dad is from the Philippines. Um, neither of them have a very, very much of a background with American culture. So, unlike, uh, I don't know, unlike people who maybe grew up with an American uh background, we didn't listen to a lot of like American music growing up. Um, my parents were very, very much into classical music growing up. Every morning, especially on Sundays, just like the soundtracks of breakfast was like classical piano or like um, or like religious music, like Gregorian chanting or like choirs and stuff which I I never, ever got into. To this to this day, I still cannot listen to that type of music. Um, so I guess I was influenced by that in the opposite direction, um, I also, uh, took piano lessons growing up which, on a similar side to that coin, I was extremely resistant to because piano lessons for me was like, oh, I already worked for seven hours in school, now I got to come home and spend 30 minutes of my precious free time practicing piano, these dusty old tunes that I don't even like. Like, I was so resistant to learning piano, which, looking back on it now, um, my keyboard skills and my finger drumming skills, and all of that is a direct result of the piano lessons that I was forced to take, so that was something positive that came out for me.

Speaker 3: 19:57

Not appreciating the music in my childhood, uh, but really, when I started to discover music for myself was, uh, before I was even into hip hop. I was a big time metalhead bro. Oh my God, I loved heavy metal, like industrial stuff, like the, really like I like the really sinful stuff, bro, the, the stuff that, uh, parents were afraid of, like Marilyn Manson, rob Zombie, that type of stuff. Um, those were also some of the first concerts that I ever went to. Literally my first live show that I ever attended was, uh, I think like 2012 or something like that I was in high school or not. 2012, uh, 2000, I don't know, maybe like 2005 or six or something like that. I think I was a sophomore in high school, my first ever live concert I went to was Rob Zombie bro in a big arena. That was the moment that I fell in love with live music and I knew from then that I wanted to be like a performer. So that was really the moment that I was like yo.

Speaker 3: 21:03

Music is in my blood and going out and seeing it live just does something different to me that Listening to it alone I already love it, but going out and seeing it live and feeling the bass and having it rattle my rib cage At these, these heavy metal shows, that's what got me so into music in the first place. So I wanted to be like a. I wanted to. I was in a punk and metal for a while. Towards the end of high school Is when I first really started discovering hip-hop music through some friends of mine, because I remember at that time, mid-2000s, lil Wayne was like everywhere it was all about Lil Wayne and Like 50 Cent. I think it was like right, a little bit, a little bit around a little bit after, like the crunk era. So we had like.

Speaker 3: 21:56

Lil John and Lil Wayne like get low was getting played at all the school dances. None of this stuff I personally related to Um, so I was. I was pretty resistant to hip-hop growing up, uh, until some homies of mine, you know, as as you do you meet some homies that just have like that are music nerds and they just have like a gigantic hard drive full of just albums on albums, on albums that they'll just give to you. That happened to me a few times in my in my early adolescence, which Formulated a lot of my music taste as an adult. One of those moments was my homie Jacob had a hard drive that had a bunch of like tribe called quest and blackalicious and ashiru and blue black of the unspoken herd just a bunch of Um, I believe tallop, quali and high tech was on there too. A bunch of the like east coast, new york, laid back jazz, inspired boom bap. That was my first exposure to that type of style. This homie in high school Just gave me a hard drive full of that type of stuff and I Especially tribe called quest. I immediately Love that type of stuff. I love the beats, I love the laid back, the jazz.

Speaker 3: 23:11

I was already an avid listener of jazz at that point. Uh, like I was saying, I've been taking piano lessons. Towards the end of my piano lesson taken career I finally got a teacher who was actually teaching me how to play jazz, like for real. So I kind of enjoyed piano because of jazz. I'm still a huge jazz lover to this day but, um, yeah, that was my true introduction to hip-hop music, or at least my, my first moment of like really falling in love with it Was listening to, like, people's instant, people's instinctive travels in rhythm. The low end theory, um, golden arrow, blackalicious, uh, jurassic five, power in numbers, just those like classic boom, bap, east coast joints, and uh, yeah, from that point on I was already like tinkering around with making electronic music. I'd just gotten ableton version six around the same time as when I discovered j dilla and it was just like you know, it was a wrap from there, bro, I found out fly low, I found about j dilla and then it was cinched, bro, I was a hip-hop head from then.

Speaker 1: 24:20

Wow, wow, so much, so much influences. But it all started Um. Was it? Was it your mom, or was it your, your dad? That was like forcing you to take the piano lessons.

Speaker 3: 24:34

Definitely. Uh, my german mom was, was more of the. You know, in some families it's the, it's the dad that's the tough one and the mom that's like that you can come, come, come to and like, ask for stuff secretly behind the other way around. Uh, yeah, my mom was the tough one in the family, so she was definitely the driving force behind piano lessons and, uh, making us go to the symphony like a few times which, looking back on it now, it sounds like it sounds like super privileged to say like, oh, you have to go to the dilla symphony. But, bro, that was, it was. It was just so boring to me, um, but um, yeah, the. The opposite end of that spectrum was that I, sir, I was seeking out for music. That was so, not Not that that I guess.

Speaker 2: 25:22

Um, I came to metal.

Speaker 3: 25:22

I came to heavy metal and punk first, because that was the, that was the hardcore, that was the loud stuff, that was the stuff that uh scares parents. And then, uh, I discovered hip-hop as well and uh just ran with it, you know.

Speaker 1: 25:36

Wow wow so, uh, I don't. So I don't know your mom and dad's names, but Shout out to your mom and dad, yeah.

Speaker 1: 25:44

Like put you on man, forcing you, forcing that, but like, also allowing you to like, experiment and search out what you like, and then that is influencing what you're creating today, which is some of the most amazing, um, you know not, it's not complex, but it's like To to my ears. I'm like yo, how's he doing this? Like it's, that's that. That's the type of music I hear when I'm uh listening to your music, man. So shout out to them, man. Thank you, man.

Speaker 3: 26:17

I will say, I will say shout out. Reuben and Maria, those are their names. Um, and they have. They have always, always supported my music, never, never been against anything I've done with, uh, as far as music and in life. So they, they've always been supportive.

Speaker 1: 26:32

Yeah, shout out to Reuben and Maria man, big shout out to y'all. I'ma get the cut of hand claps for that part too. Yo, but um man, okay. So we got you growing up going through that um, figuring out that you know classical piano Um didn't really want to take it, but it's influenced you to this day Hard rock, heavy metal, but then also discovering um some staples, some staples and hip hop man.

Speaker 3: 27:02

Absolutely. I forgot to mention Wu Tang. I found out about Wu Tang around this exact same time.

Speaker 1: 27:07

Wu Tang's for the children, yeah exactly.

Speaker 3: 27:10

Wu Tang to me, was like the heavy metal of hip hop there. It was so, so hardcore. I'd never heard anything that like intense.

Speaker 1: 27:19

Yo, I think that's the reason why why the world loves Wu Tang man, just because it was so abrasive. But then it was still like the beats were dope, but then the rhymes complete like oh man, like yeah, man, aggressive, and the best in the best way.

Speaker 1: 27:39

Yeah, man, yo, okay, so, man. So we got that going on. When did you know that you like? What was that moment for you that you were like yo, I mean, I want to create some music, I want to create beats. Was it at that concert that you went to, or was it like later where you were like you know what? I want to make beats. No matter how it sounds, I'm gonna just make beats. This is what I want to do with my life.

Speaker 3: 28:08

Uh, man, I I don't know if I can pinpoint a specific moment, maybe the first time that that rob zombie concert was the first time I did not. I didn't necessarily know, like yo, I want to make music, but I knew at that moment that yo, I love live music and, um, yeah, I guess it was just over, uh, over a slow period of time in my high school years. I was listening to a lot of electronic music at the time too, um, especially like the prodigy and the crystal method, which both of those guys are very heavily hip-hop, hip-hop influenced, especially if you listen to their drums. They're very like breakbeat heavy. Those were the type of groups that made me want to get Ableton live, first of all because I was already like a, I was in, I was kind of a computer nerd at the time, more on the more on the video game, like computer game side of things. But I was listening to this music that was also made just on computers and electronically and that, yeah, that that you know gives you the freedom to be like, oh, I don't need a band to be able to do this, I don't need to like be able to get it, get together with three other people once a week and everybody have their own instruments and have our own practice base and da, da, da, da da, this music that I love, I just need to get like a software program and I can start making it.

Speaker 3: 29:31

So, yeah, listening to like Apex twin crystal method prodigy, uh, in my teenage years, that I would say was my um original impetus to get into wanting to get my first synthesizer, wanting to get my first version of ableton, which is ableton 6, and um, yeah, so, like I, like I mentioned, when I discovered hip-hop music for myself, I was already, I was already making music. So at that point, every time I sort of discovered a new type of music that, um, that inspired me. It's from the lens of, like yo, I can like make this for myself. So, um, yeah, I guess, long story short, you could say it was a process, uh, little steps at a time, little influences at a time. There wasn't like a specific point.

Speaker 1: 30:27

Yeah, that's and that's, that's normal man, because you know we all just searching to figure, trying to figure it out, and once you figure it out you just like yo. I'm gonna just start, because if some people get stuck in research mode but you didn't, so you just was like, you know I could make this If you get some software ableton 6, I think, oh, don't get me wrong.

Speaker 3: 30:50

It was a lot of research mode along the way, don't get me.

Speaker 1: 30:53

Yeah, so, but some people can be paralyzed. Like what do you attribute you not being paralyzed? Uh, by the research?

Speaker 3: 31:02

mode. Uh, this for me, was definitely something that just came with time, because when, when I was a kid, I, even after I did, like you know, getting the software is like barely even step one. Learning it is barely even step one. You still have to get in there and actually be creative. So, um, that was honestly just having the, having the persistence and consistency to create um on Even even a daily basis. Sometimes it can be difficult for me to this day to be consistent Like I have. I have ebbs and flows with it and whatnot. But, um, yeah, it's, it's just something that came, it's just something that came over time and it, uh, it came kind of it at some points. It came kind of slowly. There were some times where I wasn't inspired for a while. Or I did have that either.

Speaker 3: 31:58

Um, overwhelming options, paralysis, as some people do when they're starting with ableton. Uh, because there's just so many different ways to approach it. Um, I had the uh, the uh. I had that early beginner paralysis of like, yo, I can't make anything close to what I want to. So what's the point? Um, it was just a matter of like, going through the trenches and Making, making the trash beats for years and years and years, um, what I will say? I think one of the first things that got me really serious about, um, putting myself out there as a musician Was when I started meeting a lot of other like-minded people. So this is when I moved in 2010, when I moved to Austin to go to UT and, like I mentioned, it's when I started going to this awesome mic exchange event and meeting artists all the time. It's when I met, uh, two of my best friends to this day, some of my best collaborators that I've had in my life, my homies, uh, jay and Devin from hermit kingdom. In my early days With those boys, when we were working as a trio, it was just endless creativity, because at that point you're not just making music for yourself, you're like making music for your friends, with your friends. It's more about hanging out than like doing the work you know. It's about having fun and like getting a little messed up and going to parties and just like being being a kid and having something to bring to the table and like show the homies like yo check this out, we just made this crazy shit Y'all about to listen to it. Um, so, yeah, I would say the fur to Another long story short to what I just said.

Speaker 3: 33:39

The first part of me sort of getting over the hump, of Just making stuff being consistent, was just a matter of time, a matter of going through it, going through the bad beats, going through the self doubt and, uh, just, I wouldn't say making it out the other side, because that's something that that's something that we deal with all the time. I don't think that ever goes away, but, um, just learning, learning to, learning to manage that. And then the second part of that was finding the community that gave me the uh, gave me, gave me the validation to whenever I Played a beat or made a beat that a homie immediately wanted to rap to. That just gives you like the validation and the uh, the dopamine release, almost to want to do it again.

Speaker 1: 34:29

Yeah, that's, that's major man finding your community man, um Yo, ever since I moved we I moved from Japan to Texas and then linked up with um flip a beat club austin and then, like yo, it's so many creatives and then doing shows in austin. Oh, my gosh man, like y'all, boys Yo, boys and girls Yo cuz yes, everything in between everything in between, man, there's so many amazing creatives out here.

Speaker 1: 35:04

Man like Yo, austin. Man like I gotta shout out austin, austin, san Antonio, houston dallas, texas. Man yo, oh man, we've got something to say. Man.

Speaker 3: 35:18

Hey, shout out, shout out all the texas producers bro real man.

Speaker 1: 35:22

So I am man Okay, that's a good story man, because I like when people can actually like articulate. Um, you know, not just like making music, but that part of the, the beginnings, you know, I mean that, the genesis of you creating, wanting to create the music, but then getting over some hurdles in order to get where you are, because nobody, just, you know, gets where they are right now, to where you making slappers. You know, I mean you gotta go yeah, yeah, exactly.

Speaker 1: 35:53

Yeah, man. So, um, when, when did your casio with, like the first casio that you bought, like when did that come into play? You know?

Speaker 3: 36:05

Man. So I started, I bought my first ever. I don't remember if it was the SK1 or the VL1, but I bought my first one way back before I was barely even making beats in high school, bro, I think I was like 15 or 16 years old. One of the only musical things that I've probably the longest musical object that I've owned just throughout my entire life is either the Casio VL1 or the Casio SK1. I can't remember which one came first but yeah, like I had mentioned, I was into electronic music in high school and I wanted to get into my first synthesizers and I was also a little bit of a computer nerd and, for whatever reason, these Casio keyboards just like appealed to me.

Speaker 3: 36:54

There was this music video called Da Da Da, this German band I can't remember like the artist off the top of my head, but it was this famous music video that was kind of like viral before viral, and that was when the guy was playing the beat off of the Casio VL1. And he had this tiny synthesizer in his in the music video that he just pulled out of his pocket and something just appealed to me so much that I just got on eBay and tried to find. When I ended up buying one for something like 60 bucks or something like that and I don't know. I was just in love with just like how it looked and how dinky and how cheesy it was and how like unique it was, as just an object to have. So at that point I was like, all right, I'm collecting these mugs now.

Speaker 3: 37:41

So at that point, whichever one was first, I ended up buying the second one and then they just kind of sat there for many, many, many, many years. I played with them a little bit, as in my early days of making beats, but they were more of like a, you know, like a curio, just more like a fun little thing up to have on the side. And then years later, years after I got them I don't even I can't even begin to count how many years it was was when I, just off the cuff, decided to make some videos with them on Instagram. One of them blew up and that kind of started a whole nother journey.

Speaker 1: 38:21

Yeah, Yo, man, like what you're doing with IG, man, which are your clips and reels and you going through like the process, man Like yo, that's one of the things that I look at when I'm like looking for inspiration. It's you, it's J-FILT, it's low key, it's oh, who else is it? It's a-.

Speaker 3: 38:47

Oh, low key is fire bro.

Speaker 1: 38:49

Yeah, man, it's so many different creatives, man, that are like analog. It's analog creatives too, man, and it's two more. It's a female. All she does is create with analog, oh man, oh no, I'll figure it out, but anyway, all right, for sure, for sure. Yeah, but yeah, man. So the Casio, yo shut up the Casio man, cause a lot of people had got their start with Casio products, man.

Speaker 3: 39:22

I don't know if they did that.

Speaker 1: 39:23

No doubt about that To make it to where it was. Just you know, build quality, make it look appealing to kids. But then, even as adults, we're still going back to those Casios and they still are creating some dope music, like what you do with your, with your ID, ig where did that come from? To where you were, like yo, let me just use my IG, create some beats, use the you know what I mean Use my keyboards, use the instruments around me and then boom, an explosion happened for Obama. Yeah.

Speaker 3: 39:56

Yeah, well, as it is, the thing with social media for me is it's always a matter of trial and error to see what works, see what doesn't. And at the early point in my social media career, this was when I kind of made the decision of like, all right, I'm going to go hard on Instagram because this is how I'm going to build an audience, and I just kind of like stuck with that idea early. I had already been making those finger drumming videos and the rapper videos that we touched on earlier, and I already decided to bring those weekly finger drumming joints to Instagram and I wanted to add another thing to it, so I decided to do synth Sundays. Now, the reasoning behind the synth Sundays is I was doing a little bit of research on marketing at the time, which is a skill that I think all producers in the current world that are trying to make some sort of career needs to at least have some knowledge of as marketing. But anyway, I was doing this like online little basic marketing course and they were talking about how, if you're able to relate your product or your thing or whatever to something that your audience already has a mental connection to, then that's going to stick in their mind so much stronger. So the example in this marketing course was I don't know if it was Taco Bell, but whichever Taco Company came up with Taco Tuesdays, they were talking about how that's one of the greatest marketing concepts because it links the product Tacos with a day of the week, tuesday, which is something just the word Tuesday. You think about that at least once a week, because it's Tuesday once a week. You know what I mean. So I had that.

Speaker 3: 41:50

I had the genius idea of like all right, so my finger drumming videos are going to be on Wednesdays, that's hump days. I'm going to change that to bump days, hashtag bump day. And then I already have this collection of little keyboards that people don't see a lot. Let me showcase those and call that synth Sundays hashtag marketing genius. So I just came up with that formula and I started just like doing it just for fun, just to see what would happen. And yeah, it was one of my synth Sundays videos that really blew up first and got like something like a few thousand likes back when my follower count was like I don't know, under 2000 or something, which absolutely blew my mind. And yeah, after that I was like all right, this works. Big check. Let's just go ahead and do this every Sunday for the foreseeable future from now on. And yeah, I did that. I stuck with it for a few years and I built, I built a audience off it.

Speaker 1: 42:52

Man yo, that is incredible, yeah, like I've seen. I've seen you like man. Okay, let me take. Let me take a step back, because you said something very, very critical. You said, uh, marketing, right, and then you said your social social media career right, I didn't think about social media being a career, but maybe that's how we need to think about it. Is not just posting regular stuff like especially if you trying to be, you know, an artist or a musician or anything like that, and you're trying to get your uh, your intellectual property out to the masses. Yes, that's how we need to think about it. Wow, I never thought about that, yeah.

Speaker 3: 43:44

Well, when it comes to social media, I would say I don't consider social media to be my career. It's part of my music career, but it's something it's more of like, uh, a commitment. You know what I mean. It's like uh, cause, when it these days, when it comes to uh making a career out of music, um, on one end, the barrier to entry is super low because it's free to download Instagram, it's free to download the Tik Tok, but, um, the barrier to getting noticed now is really really high.

Speaker 3: 44:20

So, um, another another saying that I go by is um to to be in the 1% of uh, to be in the 1% of success, you have to be willing to do what 99% of people are not willing to do. And one thing that I that I've learned is one of those things is to be consistent at putting something out. And when it comes to social media, it's like that's something that, um, I pride myself that I've been able to more or less do for the past several years is to consistently have my presence out there, because it is, it is difficult and it's something that I had to make a conscious commitment, a time and energy commitment to do, but uh, pretty much all of my big opportunities for music have come from that. So, um it was. It was definitely worthwhile, even though it's it's uh, it's difficult at times and it still is difficult. But, like I said, it's commitment, you know.

Speaker 1: 45:15

Commitment consistency. Man, Yo you dropping crazy jewels right now my guy.

Speaker 1: 45:22

Oh, thank you Thank you Listen, oh my gosh. Okay, consistency commitment, yo get, oh man. Okay, I'm gonna ask you this yeah, what did you read? What did you like, besides the marketing course that you took, um, what, what books, what audio books, what videos, what, like, what has helped you, uh, the most get, get, uh, get the most out of where you are right now, like, what has what? Which one of those videos, books, um, uh, documentaries, anything like that what has helped you get to this point?

Speaker 3: 46:03

Yeah, yeah. So when it came to like kickstarting me, getting into this mindset of like, all right, I'm committing myself to creating on social media, it was the book crushing it by Gary V bro, reading that book like flipped a switch in my mind way back in like 2016, 2017 or something. That was when I started writing down goals. That was when I started like coming up with these concepts of like, all right, I need to, uh, what do I need to study to improve myself? Let me uh get on this. Let me get on this marketing, uh course online. Um, what are some concrete goals? What are some things that I can? How can I brand myself? How can I extend how I, how can I extend my authentic personality into my branding without it being forced? How can I dada, dada, dada, um.

Speaker 3: 46:57

Crushing it by Gary V was kind of like the start of that and then, um, from then on, a lot of it was a matter of just like observing what other successful people in um in production were doing online. At the time, um big shout out to stolen drums. By the way, I definitely copied a lot from his, from his formula of his early success on success, uh, on social media. Um, so, yeah, gary V is a big one.

Speaker 3: 47:25

I'm still a huge fan of Gary V. Um, I just really enjoyed his, his content and just like makes me feel good and it makes me feel motivated, so shout out to him and then, um, yeah, other than that, it's just like observing other people who have, um, who I would say are in a point in their career that I hope to achieve myself at some point. So people like stolen drums, people like, uh, little bad snacks, who was also like a really great, uh, producer and educator on on YouTube and social media and and so on, um, yeah, so Gary V, and then other producers, yeah, yeah, yeah, gary V man.

Speaker 1: 48:06

I just remember like the same thing, like crushing it. I haven't read that book, but I used to watch all of his videos when he'd come out because it was just. It was so simple how he put it. It was just like yo just stay consistent, be hard. Don't give a fuck about what nobody else is talking about.

Speaker 3: 48:24

Yeah.

Speaker 1: 48:25

Stay committed to your vision, man, and then build a winning team. Like that's the things I took away from Gary V and I still use to this day is the team stay consistent, fuck everything else. You gonna have to sacrifice, like he always talked about. You know he didn't have no weekends, no weekends, you know what I mean. Like the only weekends was to watch the Jets. Yeah, you know saying like I just remember everything he was talking about. Man, shout out to Stolen Drums. Man, sidechain Society. Man, they doing some amazing things over at Sidechain Society. And then, and Gary V man, yo and Speaker to that, when you, in 2015, I think you came out with this album in 2015, which is Flobama volume one.

Speaker 3: 49:16

Man which is an amazing joint Volume one.

Speaker 1: 49:20

Yeah, man, like I had to take it back. Yo, that's it. That's an amazing album as well, man. So, if internet's, go to Flobama's band camp, man, I'm going to link everything in the description of the show. So go too far, man, but listen. If you haven't listened to anything that for Obama has put out, do yourself a favor, go to his band camp, go to Apple Music, go to Spotify, follow him, man. Like. Go to his IG. Yo, man, he's doing some amazing things. But let's talk about volume one. Flobama volume one. Man, like, what was the what was? Where did that come from? Like, what made you put out Flobama volume one?

Speaker 3: 50:04

So that was really a beat tape. Honestly, I wasn't thinking of it as like an album or a project, but that was that was the first time where I was like all right, I got, I got a grip of beats, let me put them out and let me see if I can shop them out to some rappers around town, which it's been so long bro, I don't even. I'm not even sure if any of those tracks off of volume one ended up having people rap on them. I'd have to like go back and listen, listen to the beats and like try to remind myself. But yeah, it was essentially just I had just recently come up with the name Flobama.

Speaker 3: 50:40

I was kind of finally establishing my identity as like a solo hip hop producer, because I was already working with her, my kingdom at the time, working as young master Wakizashi, which was like a slightly different vibe from Flobama, giving a little bit less of a fuck, a little bit more of the like, the, the on the Wu Tang clan side of things, but like a slightly unhinged underground, like weirdo version of it. But Flobama was like my, like, all right, this is me staking my claim. This is, this is me like sort of establishing what I am starting to sound like as a producer, and volume one was just like essentially like my first beat tape. You know it was the first batch of beats. I wasn't necessarily trying to I don't know if I was trying to make like an album per say I was just trying to have like a collection of like all right, these are some joints that I'm proud of that like maybe people want to wrap on.

Speaker 1: 51:33

Nice, and then you transition and go to strong style slaps. Yeah, so that album. Man, I was like yo. So that that album, those two first two albums and then HB beats the beat tapes, those were the ones I was like yo. I got to get his discography, man, so I got your whole discography.

Speaker 3: 51:54

Well, hey, thank you brother.

Speaker 1: 51:56

As of like, when you came out with HB beats everything you had I was like yo, let me get everything this guy got, because I got to have it in my music collection, because you know, when I get older my grandkids gonna be like yo, what was you listening to back then? I'm like yo, let me go to my band camp. Yeah, I mean, this is what I was listening to. Yo, I mean, but yo strong style slaps man. Where did that name come from? And then, what was that album?

Speaker 3: 52:23

about. So the album strong style slaps. That was definitely more of like an effort to have like some sort of like a consistency in the sound and like the concept of it. So I at this point in time in my life I was a huge fan of wrestling and I particularly enjoyed watching Japanese wrestling at the time.

Speaker 3: 52:48

And strong style is a term in Japanese wrestling that refers to wrestlers that actually smack each other like real hard, like an American wrestling WWE, that AEW type of thing. There's a certain sect of, there's a certain there's a certain approach on some, some people that I guess I don't know how it is anymore. But in general, professionalism and wrestling is to be able to do a match and like not hurt the other person at all but make it look real. And Japanese strong style wrestling is like a old school hardcore thing of like yeah, we're actually smacking the shit out of each other. So that's where the title came from. Also, the album cover is kind of like me doing a tracing of one of the most famous Japanese strong style wrestlers, kent Akobashi, smacking the shit out of another wrestler in the in the corner of the ring. So that album in particular was highly influenced by just the sounds of Japan in general.

Speaker 3: 53:55

I actually grew up, growing up, I spent a couple years in Japan with my family when I was a really young kid, from, like I want to say, kindergarten to first grade. I was in Japan because my dad worked there for a couple of years. Um, so I had some childhood memory with Japan. Like I have that in my like nostalgia banks of my brain. So the strong style slaps album was like partly a callback to that and also, just in general, it was like, uh, a tribute to Japanese jazz, japanese musicians and then, of course, uh, japanese wrestling.

Speaker 1: 54:30

Nice man, listen, you know when I was listening to that again, because I was in Japan too, so I don't know what part of Japan you were in, um, but we were in the Tokyo section, um we were in uh.

Speaker 3: 54:43

We lived in Kyoto from 1998 to 2000.

Speaker 1: 54:45

Kyoto. Yeah, yeah, we were in Fusha uh, fusha Shishis, so it's like a prefecture of uh of Tokyo, man. So it was, they call it the country of um of Tokyo.

Speaker 2: 54:58

But yeah, it was far a lot.

Speaker 1: 54:59

It was like maybe three hours away from uh Shibuya Shinjuku, you know all that type of stuff.

Speaker 3: 55:04

But very nice.

Speaker 1: 55:06

Man. So I was like yo, man, this guy, he's definitely been to Japan just from the uh, the album cover as well. Um, cause, I was looking at some of the wrestling too. I was like yo, they really going hard with this, um, the wrestling too. And then I come up on HGB beats and I was like yo, I've been to Texas before. I know anybody that said Texan loves HGB. Oh yeah, and then you go with people's reactions to you know what I mean, the clips from people just loving HGB, because HGB is an experience man.

Speaker 2: 55:45

It really is.

Speaker 1: 55:46

It really is. And this beat tape is the same thing, man. So how did you even come up with this concept for HGB?

Speaker 3: 55:52

beats. So the title came up as a kind of like a joke. Um, so me and uh boom Baptist go to the same HGB and we run into each other there a couple of times. Um, and after the second time we bumped into each other. I DM'd him later like as a joke, being like yo, we should make a collab album and call it HGB.

Speaker 3: 56:14

But that name HGB is just kind of stuck in my head already. Uh, even before that there was a, a corduroy show. He's another amazing, uh, electronic producer here in Austin. Uh, I, it might have been like an exploded drawing or some sort of beat showcase that my homie corduroy played at, and in between tracks he was just like hello, welcome to HGB. He just like on stage, which made me laugh so much.

Speaker 3: 56:37

But at the same time it's like yo, like shout out HGB, like that that's actually for real, representing as fuck. So, uh, I kind of got the idea in my head that, like yo, hgb is like I kind of ride for HGB, bro. Honestly, like I'm so down to name an entire project after HGB because I mean I go there every week, I buy all my food in there every week, I cook up in the kitchen with groceries from HGB, like I cook up with uh with my beats at home from samples and whatnot. So, uh, let's just uh put two and two together and make a make a project that represents one of my great loves in Austin, texas, and that is the grocery store HGB.

Speaker 1: 57:16

Yo, man, yeah, if y'all listen to this, if y'all haven't listened to HGB, hg beats, do yourself a favor, man. I'm going to link his whole description in this show. So yo, just do yourself a favor, man, and support this joint. I got the cassette um, which I got to get you to sign, man, I got. Next time I see you, you know, I got to get your autograph.

Speaker 3: 57:39

Oh yeah, for show, for show.

Speaker 1: 57:40

Yeah, that one, and then, uh, warp mode, I got. I got both of those, cause I think that was a cassette too, right, um?

Speaker 3: 57:47

as it was it sure was.

Speaker 1: 57:49

So I got both of those man, I got a, I got a, I got to get your autograph on those man. Um, and then you just came out with um. What'd you just come out with? Um as a single, that you just came out with actual um.

Speaker 3: 58:04

Oh you, you mean the one that I just dropped. Uh, this week you just dropped it.

Speaker 1: 58:07

Yeah, you just dropped this joint.

Speaker 3: 58:10

Um, that one's called happy accidents, yeah.

Speaker 1: 58:12

There you go, there you go. What's so? Can we talk about that? That that joint right there real quick? Is that leading up to a new beat tape, a new album? What's what's happening with this?

Speaker 3: 58:23

So yeah, uh, so, these new, these new releases that I'm coming out with on Spotify, um, for one, I have to shout out my team, that is the mind feeders. They're these homies from Berlin that are my um, they're my management, they're my team and they are helping me with, uh, helping me with things like Spotify and, um, all other, all other kinds of things in the background. Um, they're the reasons that I got uh crazy streams last year. Um, it was. It was one of those situations where, like I had built up my audience on Instagram and they reached out to me and DM me like yo, maybe we can work together. Um, and after, after quite a long while of like negotiation and figuring, each other out and, uh, you know cause you gotta have your guard up in the internet days.

Speaker 3: 59:04

Um, we went through. We went through the long process of getting to know each other, contract negotiations, everything's super official. So, in case anybody didn't know, I am with mind feeders. That is my management, that is my team, based in Berlin. They also they also manage, they also manage Odyssey, which was really the main reason. I was like all right, these guys are legit. So, uh, all that in the background.

Speaker 3: 59:27

Um, so this is a the latest in a series of singles that I have been releasing with mind feeders on, uh, on Spotify, and for now, these in particular. They're really just singles. I'd say Spotify, but it's on all streaming, everything. Um, apple music is surprisingly also like a really good source of streams for me, because they have a bigger audience in Europe. That's a whole other thing, Um, but, yeah, so I have a series of singles that I've dropped, with them just on streaming, just to have like a kind of steady flow of things happening.

Speaker 3: 1:00:01

Um, but that is building into something. So, um, I can't really I don't want to go into details right now, but I'm not going to do anything. So, um, I can't, really I don't want to go into details right now, but I do have a collab album with uh, someone that I'm really, really excited to work with. That's going to be coming out next year. I can't really talk about um who, I can't really talk about the details yet, but it's going to be a big collab album with uh, with a bigger artist, and I will give you I will give you one hint as to who the artist is that I have this album that I'm working on with. It is one of the artists that has a fat beats bakers dozen. If you know about those um, that uh vinyl series that fat beats did. They reached out to a bunch of different producers and have them had them put out like a 12 beat, uh, 12, 12 joint beat tape.

Speaker 3: 1:01:00

I am producing with one of the dudes, uh, that has one of those. I'm not going to say who it is, but it's someone from Germany and it's someone that I'm really excited to work with. So, yes, I do have a big album coming out next year. Um, other than that, I have uh, I have a couple of pretty. Another thing I'm going to be a little bit coy about, but I have a single in the tuck that is also with a really well known uh beat producer. Again, I'm not going to say who it is, but I have played it out at a couple of live shows, so some of y'all that have been at some of my recent live shows might know who it is that I'm working with. I'm not going to say too much more on here, but um, yeah, safe to say, things are brewing behind the scenes at the flow bomb, the camp.

Speaker 1: 1:01:44

Yeah, man. So y'all tap into flow bomber everything he's doing, Stay tuned to his Instagram and pay attention to his link treatment. Um, listen, um. Last two questions yeah, Um, when, um, if there's there's one thing that, uh, that you could say to up and coming, you know, beat makers, music producers, composers, um, about why you create music, what would you say?

Speaker 3: 1:02:17

Do it cause you have to do it, bro. Do it cause you have no choice. Cause it like soothes your soul or cause you have the like fire inside of you. You know, don't do it for money, don't do it for clout, cause you will fail. If that's your motivation, dude, you got to do it cause it's what my you know what my motivation is? I want to create the stuff that I want to hear. That's like, at the end of the day, I want to make music that doesn't exist but that I need to exist. So if you're doing it out of uh and another way of saying that is to just do it out of love do it out of love for the craft, do it out of like being a nerd for music, whatever it is. Just do it cause you feel like you need to and do it because you feel like it is inside of you.

Speaker 1: 1:03:01

Yo man, that's a ding ding, ding, ding ding.

Speaker 2: 1:03:05

Yeah, Listen man.

Speaker 1: 1:03:08

Yo listen, you've done some amazing beatsets that uh that I've been a part of man backyard sessions put on by IKBC, austin man Preston man. It was rather unique. Um and yo and uh, the car, the cars that you've been a part of, that I've been able to see um and quickly like how, why? Why finger drumming um live, like why, why do that?

Speaker 3: 1:03:39

So when it comes to like watching beat performances live, um, I found that a lot of them are pretty visually boring just watching somebody there like pressing buttons and looking like they're checking their email. So my whole thing was look, I want, I want whoever's watching me to have a direct visual link of what this finger is doing and the sound that's coming out of it. You know, like watching somebody play like drums live or guitar live, you see them play the chord and you see, you hear the sound come out. At the same time, you see them shred the solo and you see their fingers move and there's that like, there's that visual element to it and it also tickles the part of your brain that's like oh, I get that satisfaction of like, oh, this, this movement is leading to this sound and it makes sense and it's like fun to see, like what's going to happen next.

Speaker 3: 1:04:34

So part of the reason why finger drum live is that I just want uh, I just want the audience to be able to have that experience of actually having it feel like a performance and not necessarily just like, you know, pressing play or like I look like I'm checking my email back there, like. I want people to actually feel like I'm playing an instrument up there which can be really difficult for um, electronic music. Um, a lot of the times you'll see a performance where it's like I don't know synthesizers or modulars or like really esoteric and like cool looking gear. But if the guy's just up there like kind of twiddling knobs at least for me a lot of the times it just like doesn't necessarily connect all the way, like sometimes for performances like that you almost have to be another producer or another like sort of tech nerd to understand what's going on, to really have that connection to it. I want to remove that barrier and just have anybody from any background be able to understand what's going on and enjoy the beat set.

Speaker 1: 1:05:32

Got you, I got you. Can you shout out your uh, your school, where you teach at man, I got it. You know what I mean. Like that's a big deal for a teacher. Ah, thank you, you got to shout that. I know the kids. You be like yo kids. I've been on a podcast. Check me out.

Speaker 3: 1:05:48

Oh bro, I do not. I do not tell the kids. I do not tell the kids, I don't want them on my social media.

Speaker 1: 1:05:55

I got you. I got you, man. So okay, Last question, man, and first of all I want to say thank you again for being on the show, hey thank you for having me. Thank you for your thank you for your time, my pleasure. The rest of 2020, well, 2023 is coming to a close right, so 2024 is going to be wide open. Besides what you told us, a little bit of like where can people find you? What are your socials? Why should they tap into Flobama and what?

Speaker 3: 1:06:23

you're doing so, first of all, flobama 91 on everything FLOBAMA91, twitter, tiktok, instagram. All of that is Flobama 91. And people should tap into me if they feel, if they enjoy the music. You know, if you enjoy a good sample flip, if you're into some laid back vibes, if you're into lo-fi music, if you want to just have some cool background music to study and chill to, or if you want to, if you're somebody who is a producer that wants to learn a little bit about I don't know, finger drumming or using Ableton or using a SP-404 or anything like that, that would be another good reason to follow me.

Speaker 3: 1:07:08

I have some. I'm always working on new beat videos, new beat Ableton cook up content, mpc content. I actually have a collab with the company Ableton that I'm working on that's going to be coming out sometime next year. I got a little thing in the works with Red Bull as well. That's like a smaller little, just like fun video, but y'all can keep y'all's eye out for that. And yeah, just if you feel the vibes, feel free to holler at your boy.

Speaker 1: 1:07:41

Yo, man, that's yo listen. Flowbomb has been featured on the Austin Chronicle too. Man, I'm going to link that article as well. I think that was like 2021 when you came out with that, but you know that's one of my career highlights.

Speaker 3: 1:07:55

for sure, I was so proud of that moment.

Speaker 1: 1:07:57

Yeah, so I got to link that in the description of the show so everybody can read that. Yo Flowbomb. I want to say thank you, man. Keep doing your thing. I'm paying attention and supporting you, man.

Speaker 1: 1:08:09

Thank you brother, you're going to definitely have some new fans from around the world. That's going to tap into you. Man, y'all going to enjoy Flowbomb man and if you enjoy his music, man, send him a message. Man, shout it out. Send him a message saying you enjoy it, what you enjoy about it, because I'm pretty sure feedback is another piece of the social media. You know what I mean. This whole landscape, you know what I mean 100%.

Speaker 1: 1:08:34

That's important, man. So thank you for your time, man. I appreciate you, man, any last words you want to give to the internet.

Speaker 3: 1:08:45

Uh, y'all stay breezy bros. Be some dope killers.

Speaker 2: 1:08:52

Yeah, that's all I got, and that's totally nice. Oh, oh, oh, oh, oh oh. I Was working produce at H eb plus just minding my pairs in come quads when she walked in. I Need you to make something disappear. Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh oh.