00:14forever everybody know
00:27new Jay D and njais both of them are in
00:30contention for the most influential
00:32music producers in history even though
00:35there is no record of them knowing about
00:37each other the legacies are intertwined
00:40in a almost Supernatural way the most
00:43weird fact is that they were born on the
00:45exact same date the 7th of February 1974
00:50and passed away in the same month but in
00:52different years jela passed on February
00:552006 and njais passed on February 2010
00:59the the other big connection is their
01:01influence over the LOI hip hop genre
01:04they are considered the Godfathers of
01:07this style of music even though there is
01:09no hard evidence linking these two to
01:12Loi the existing stories I found were
01:15heavily romanticized but what is Loi Loi
01:19is a large music genre but its hip-hop
01:22variant has become so successful that if
01:24you just say Loi most will assume that
01:27you talking about Loi Hip Hop which is a
01:30form of downtempo music that combines
01:32elements of Hip Hop and chill out music
01:35it was also popularized in the 20110 on
01:38YouTube I knew of this even before
01:41opening this Wikipedia page because I
01:44lived through it but before we dive a
01:46bit deeper into the legacies of daa and
01:49njais and talk a bit about Loi to
01:52determine if they were in fact the
01:54Godfathers of the genre I need to talk
01:56about how YouTube pushed a borderline
01:59mainstream producer and they Niche
02:01Japanese producer into legendary status
02:05a perfect example of their influence is
02:08my own story I started to listen to
02:10beats in 2011 because I thought that
02:12lyrics were too distracting when trying
02:14to study from that point forward I was
02:17also heavily immersed into basketball
02:19culture so naturally I started to
02:22gravitate towards HipHop on 2013 during
02:26one of my many daily workouts I stumbled
02:29upon de Souls me myself and
02:37and the music video was being played at
02:40the gym and the track has this Nostalgia
02:43attached to it like something that would
02:45be playing in the background during my
02:47childhood chasing that feeling I went on
02:49YouTube later that day and ended up
02:52finding Stakes is High produced by Jay
03:02you a discovery that looking back now
03:05completely changed the trajectory of my
03:07life basketball L me to Del Soul which
03:09naturally made me find out about J D who
03:12opened my horizons to hip hop in general
03:15all these Aras of rap from daa all the
03:18way to Jay-Z and even Kendrick Lamar
03:20were pretty much mainstream but not
03:23mainstream enough to be considered
03:25internationally mainstream as a
03:27Brazilian high schooler I was
03:30isolated from this predominantly black
03:33North American culture so I needed an
03:36unorthodox Avenue to consume this
03:38culture's music that Avenue was and 10
03:42years later still ises YouTube after
03:45finding the instrumental version of
03:47stakes is high I noticed that there were
03:49a lot of Beats that were getting as many
03:51views as the actual songs so it became
03:54obvious to me that existed this huge
03:58audience on this air a growing platform
04:01that simply likeed to listen to beats
04:03and two types of beat videos were
04:05becoming so successful that they ended
04:08up having a huge impact in the music
04:10industry the first was Sample based
04:13beats with mostly boom B drums starting
04:17with daa njais and madlib and later on
04:20producers like ninth Wonder flying Lotus
04:23and Alchemist also finding success the
04:26second style of videos was tight beats
04:29where un known up incoming producers
04:31would upload their beats to YouTube
04:33using the name of an established Artist
04:36as clickbait or the name of a rising
04:39artist in order to ride their growing
04:42wave side note I think I listen to type
04:44beats that were click baiting artists
04:47like whis Khalifa and ASAP Rocky before
04:50I had the chance to listen to one of
04:51their actual songs before moving on I
04:54also need to mention channels that
04:55re-upload music channels like the sound
04:58you need and chill hop were majorly
05:00successful at the time and their
05:02re-uploads going viral definitely had
05:05positive impact on the careers of guys
05:08like fkj again what I'm trying to
05:11Showcase with all of this is that there
05:13was this hungry music Audience on the
05:16second biggest website in the world this
05:19must have inspired many producers to
05:22cater to this audience and for those who
05:24are fans of daa and njais they didn't
05:27create Loi but they brought this hyper
05:30Niche genre into this huge audience
05:33pushing lowii to the heights he has
05:35reached today YouTube being a free and
05:38easily accessible website pushed daa to
05:41become Timeless with even his unreleased
05:44beats garnering millions of views across
05:46the world YouTube being a global website
05:49helped nbis a Japanese producer who
05:53started his career making black North
05:55American Music achieve Global notoriety
05:59both of their International success on
06:02YouTube and sadly their untimely passing
06:05as it's often the case pushed their
06:07Artistry into legendary status and 100%
06:11paved the way for producers to go online
06:14and make a name for themselves before
06:16diving deeper into daa andab story a lot
06:20of Articles mention mad lib's influence
06:23in the genre madb is one of the few
06:25producers that share DA's rarified air
06:28but personally I never made the link
06:30between his work and Loi I think mad
06:32Li's work on Mad villain and his Zer
06:35bapes are more on the literal sense of
06:38lowii which stands for low
06:47Fidelity the feel and the roughness of
06:49the sound is the most noticeable
06:51attribute but this wasn't on artistic
06:54Choice it was simply the result of the
06:56gear they had available to them at the
06:58time however the Nostalgia for the sound
07:01has become so prevalent nowadays that
07:04companies are making new gear inspired
07:07by the old hardware and in some cases
07:09straight up re-releasing the old
07:12equipment subscribe and check the patron
07:14so I can afford a sp404 but nowadays
07:17when you talk about lowy the term is
07:19linked to a Vibe and a feel producers
07:22still try to emulate a bit of that
07:24roughness and low Fidelity but the most
07:27noticeable aspect of low fight today is
07:57mood regardless if lowii hip hop is
08:01inspired by med lib's work I don't mind
08:04including medlib and giving him props
08:06anywhere I can now let's do a quick
08:08overview of the early mid and late
08:11stages of daa and naab's career and how
08:14they both pioneered music movements that
08:17may have directly impacted
08:22Loi JD what up D came from a very
08:27musical family he was the son of a opera
08:30singer and Jazz basist his mother stated
08:33that he could match Pitch Perfect
08:35Harmony before he even learned how to
08:37speak in 1992 while D was in high school
08:41Detroit music legend M fidler from the
08:44Parliament Funkadelics Linda on the kai
08:48MPC is that you were basically like a
08:50mentor to the young JD Jill because you
08:53taught him like the basics of NPC how to
08:56use it that's right I I remember like it
08:58was yesterday because I had um purchased
09:01the NPC from a demo deal that I got from
09:03polygram records and I got an NPC 60 and
09:06he came to the house with the rest of
09:08the rappers that wanted to record from
09:11my neighborhood they were all kids in
09:12high school 16 17 so I remember
09:16distinctly that I told them that I
09:18couldn't make the beat because I didn't
09:20have that much time so I could help them
09:22but they needed someone who could be
09:23more creative in the process for them to
09:26work as a unit together and they said oh
09:28that's cool we have James when they
09:31brought James he showed me how he had
09:34sampled from cassette tape to cassette
09:36tape over D cassette tape over on
09:38another cassette tape over de beep on
09:39another cassette tape it was amazing so
09:42I said this is amazing I don't know how
09:45you doing this I said bring me the the
09:47samples and we're going to make them
09:49from the NPC but what was amazing was
09:52that a Dilla heard everything he heard
09:55the intro the verse the chorus the vamp
09:58everything was all in the arrangement
10:01and all the samples were different for
10:02one song so he was a genius and all the
10:05samples were relative in KY each other
10:07so he was already a genius when he came
10:09to my house all he needed to know was
10:11the technical aspect of the machine and
10:13once he learned that which he came to my
10:16house just about every day after that he
10:18was amazing like a mentioned before the
10:21NPC D produced by overlapping cassette
10:24tapes something quite complex that he
10:27deal with ease due to his ability ility
10:29to seamlessly match the keys of
10:31different samples his genius would go
10:34even a step further da would open
10:36cassette tapes mess with the screws in
10:39order to change the tempo of whatever he
10:42was trying to sample but now with the
10:44NPC daa found the equipment his career
10:47would become synonymous with DA's
10:50production ability helped birth one of
10:52Hip Hop's most legendary groups slum
10:55Village the group was founded by rappers
10:58batim and T3 with da on the beats the
11:01three of them grew up together in the
11:03Conan Gardens neighborhood of Detroit
11:06even though they only recorded their
11:08first project fantastic volume 1 in 1996
11:12the group was already Making Waves
11:13through the underground Detroit music
11:22scene what time we leaving
11:24here coming back here leaving and coming
11:28back so I know I'm time I got to do
11:57great hey hey hey hey hey what you say
12:34this is my man right here I got
12:37introduce one more of the
12:55group regardless of the underground hype
12:58success in the music industry is not
13:01guaranteed daa's Talent needed a
13:03spotlight that would come in 1994
13:06through Q-tip from A Tribe Called Quest
13:09they were one of the performers at laa
13:11palooza and shared the festival lineup
13:14with Funkadelics which created a perfect
13:17opportunity for amp to meet Q-tip in an
13:20interview for the Netflix documentary
13:22hiphop Evolution Q-tip says that he was
13:25approached by amp who mentioned I can't
13:27wait for the festival to make it to
13:29Detroit I got this brother who you need
13:31to meet when they finally got to Detroit
13:34and brought DEA to the tour bus and even
13:36though D was shy and couldn't say much
13:39he was excited because he was able to
13:41give Q-tip his demo tape of Slum
13:45Village then later I'm listening to this
13:48sh in the back of the bus with true [Â __Â ]
13:51I like listen to this this [Â __Â ] called
13:53slum Village so he's like yo this is ill
13:57I was like it's ill right I'm not
13:59bugging right see kill di this [Â __Â ] is e
14:02who's doing the Beats after linking up
14:04with Q-Tip and The Tribe Called Quest
14:07Jay D experienced a meteoric rise I
14:11played it for Quest love common far side
14:14and I would just be talking about him to
14:17everybody you got to H you got to H by
14:19the late '90s D was already a well-known
14:22hiphop Prospect he had a string of
14:24singles and remixes to his name and had
14:27done work on Project with Legends like
14:30jenet Jackson Far Side B so Buster Ryme
14:34and Q-Tip among others in 1995 he was
14:38invited to become a member of a
14:40production team known as the
15:03the group produced the fourth and fifth
15:05Tribe Called Quest Studio albums as well
15:08as a number of hits for R&B and hip-hop
15:11musicians still in the late '90s D would
15:14also partake in another legendary
15:16Collective the neo soul group so
15:38my daa was at the right place at the
15:42right time with the right skill set even
15:45though Hip Hop was created in New York
15:47during the 70s its golden age was in the
15:50'90s with sampling being the main form
15:53of beat making as da came into his own
15:56as a producer Hip Hop was coming into
15:58its own as a genre de story May portray
16:02him as this genius but don't think his
16:04skill came without some serious hard
16:07work B spent the late 80s and most of
16:10the '90s in a studio basement
16:12relentlessly sharpening his production
16:14ability this quote by DJ house shoes
16:17sums it up I miss that basement that
16:20basement is the birthplace of so many
16:22musical ideas that was the center for
16:25the Detroit movement in Hip Hop in there
16:28D conjured up the magical alchemy that
16:31gave birth to his revolutionary approach
16:34to hip-hop production daa had Legends
16:37step into that basement from common to
16:39dangelo Erica Badu and even one of his
16:43idols beatrock while by the mid to late
16:459s Dill was already an established
16:48producer in the other side of the world
16:51another producer who was also inspired
16:53by the likes of pet rock was about to
16:55embark on his own production Journey the
16:58story of nbis is one that took extensive
17:00research out of everything I've read and
17:03I read a lot only this article feels
17:05like it has concrete information shout
17:08out to the writer Jeff Kim and the
17:10collaborators especially pH Rock zunba
17:13was a music fanatic that started his
17:16career in the business side of it he
17:18owned Guinness Records a record shop in
17:21shabuya that would later on in 1998
17:24expand into the Independent Record label
17:28High out Productions his store was
17:30different due to its Niche collection of
17:33Records according to faze Rock one of
17:35nja B's closest friends the records were
17:3860% underground hip hop and 40% stuff
17:42you sample nujabes wasn't fond of
17:45commercial hip hop if he wasn't DJ
17:47Premiere 5DS or someone like beat rock
17:50he wasn't having it during that time
17:53there were a lot of successful record
17:55shops Guinness Records was the hipop
17:58shop the success of Guinness Records in
18:01the opening of Hideout Productions made
18:03the store building not only a hub for
18:06music listeners but also Music Makers
18:08being surrounded by Talent may have been
18:11what push njab bis to finally start
18:13producing as anyone who worked closely
18:16with June will tell you he was very much
18:18a student of Hip Hop and took influence
18:21from those in his Circle extensively in
18:24order to craft and refine his own sound
18:27these close relationships were a large
18:30part of what shaped The Sounds music
18:32listeners enjoy still today njab style
18:36took a few years to develop but his
18:38success did not although his production
18:41skill was still in its infancy his
18:43business expertise helped him experience
18:46a quick rise in popularity FaZe Rock
18:49recalls a story that perfectly
18:51illustrate nujabes Creative Marketing I
18:54think nujabes did a Nas bootleg of one
18:57love he would then take that press it
18:59onto vinyl then throw it in the nas bin
19:02so people that would be looking for Nas
19:05who was one of the top artist at the
19:06time would stumble upon this strange
19:09record and think who is nujabes not
19:12knowing that it was actually the owner
19:14of the store crazy hustle Tokyo is tens
19:17of millions of people so lots of
19:19customers moving through the shop and he
19:21did really well I learned the hustle
19:23from him I call this physical clickbait
19:26still in 1998 Jun had released the
19:29cassette tape Sweet Sticky Thing it was
19:31the first fulllength piece of work he
19:56nujabes even more impact F than his
19:58ability to Market himself was his
20:01outstanding ability to find
20:03collaborators like I mentioned before
20:05njais started his career making hip hop
20:09a black North American genre even though
20:11he would go on to work with Japanese
20:13Legends like uama hiroto and shingo to
20:16it was obvious that he needed to expand
20:19overseas to maximize his potential he
20:21was ACC cutely aware of the possible
20:23opportunities around him he was then
20:26able to maximize these opport unities in
20:29the most straightforward manner he would
20:31just make phone calls international
20:34phone calls in the '90s njaes got in
20:38contact with Virginia rapper Stanley
20:41substantial Robinson through one of his
20:43employees who had gone to college in the
20:45United States he asked if there were any
20:48underground rappers in New York that he
20:50should know about after being shown an
20:53old mixtape from substantial he was
20:55impressed enough to ask for his phone
20:57number he then went on to call
20:59substantial out of the blue sub thought
21:02that he was being pranked due to njab
21:04thick accent but thankfully he didn't
21:06hang up because in 1999 after being sent
21:09some beats and doing some demos he ended
21:12up signing a contract with njaes
21:14production company and shortly after was
21:16flown down to Japan to record projects
21:19in person another common collaborator
21:22was funky DL a respected Jazz hop artist
21:25and curator known for his jazzing fused
21:28mixes and big contributions to the UK
21:31music scene dl expanded his reach by
21:34using UK exporters to distribute his
21:37vinyl records worldwide one prominent
21:39Japanese importer and Avid collector of
21:43dl's music was Guinness Records njaes
21:46found dl's phone number in one of the
21:48boxes and then he proceeded to spam call
21:52his phone number after a while being
21:54persistent paid off enab Biz was finally
21:56able to link up with with DL they formed
21:59the relationship so strong that DL
22:02played a huge role in finishing
22:04spiritual States njais Post humans album
22:08here's DL commenting on nja bis's
22:10creative and business approach among the
22:13most useful information learned from
22:15June along the journey was his approach
22:18to the business side of Japan's music
22:21industry as a owner of a vinyl shop Jun
22:24knew how to move music very well and
22:26kept up with tr daily to stay ahead of
22:29competitors researching what was Hot or
22:32Not aesthetic of both business and music
22:35played a large part into jun's formulaic
22:38approach contrary to daa njab story
22:41doesn't portray him like he was destined
22:44to become this legendary producer but
22:47genius or not both of them had to put in
22:50the work other than being a sponged to
22:52the influence and the knowledge
22:55immediately around him njab saw after
22:58more ways to improve in 2001 he
23:01participated in a digital siging
23:03processing Workshop of Japan an intense
23:065-day summer workshop which cover
23:09algorithms and techniques used for
23:11signal and Sound Processing since the
23:13start of his production journey in 1998
23:16njab Biz was always looking into ways to
23:19improve his skills and 5 years later he
23:21was about to collect the fruits of his
23:23labor because in 2003 he released
23:58you can call me on your
24:15at metaphorical music is a fan favorite
24:19and perhaps the most well-known album of
24:21new shabis the production of
24:23metaphorical music is referenced by many
24:26hip-hop heads as one of the few
24:28Pinnacles of modern low Fidelity and
24:31Jazz hop far from any sort of cliche and
24:34able to hone in on a very specific Vibe
24:38even though the project wasn't an
24:40instant hit it contains some of jun's
24:42most iconic songs those with cat like
24:45following that have been spread
24:47internationally following the Airing of
24:50the anime some I sh Blu one of these
24:53tracks is beat laments the
25:02the track is often confused with the
25:04outro song of Samurai shamp PLU shiko
25:07UTA for the anime they interpolated the
25:09sample of beat lament the world with the
25:12assistance of Japanese Legend uyama
25:38on 2004 Tino Watanabe the creator of the
25:42critically acclaimed anime cowboy bbop
25:45was working on his next series bbop was
25:48a fusion of jazz and Space Cowboys and
25:51wanabi wanted his next project to be a
25:54combination of EO peria Japan and
25:57Hip-Hop H Matan was friends with doace
26:00they work together on the music for the
26:02final episode of cowboy bbop whenever
26:05they were discussing the music for samai
26:08shlu nujabes was the first name which
26:11came to mind however nujabes was not
26:13about to embark on this journey on his
26:16own nujabes was a huge fan of American
26:18producer fat John and he suggested
26:21wanabi reached out to him so they could
26:23work together this original soundtrack
26:26produced by faton for nature in njab bis
26:29was so remarkable that now it is
26:32considered one of the greatest osds
27:08for many fans it was their first
27:10experience with hip hop a lot of the new
27:13generation people associated with the
27:15modern Loi movement credit this very
27:18anime specifically the two main
27:20soundtracks departure and impressions as
27:23their first taste of Hip Hop the chilled
27:26aesthetic that domate the OST is far
27:29from what mainstream Hip Hop was at the
27:31time but that actually might have been
27:34what made it more appealing to a wider
27:36audience a sound that was much easier to
27:39digest often without lyrics this Legion
27:43of new fans went on to research the
27:46makers of the ostd thus throwing this
27:49huge Spotlight on fat John nujabes en
27:52force of nature this fresh attention
27:55elevated nujabes previous work and made
27:58fans excited for what was to come
28:01thankfully he was prepared for the
28:03spotlight 2 years after the released of
28:06metaphorical music and a year after
28:08Samurai shampu begun to air NZ released
28:11modal Soul his second fulllength
28:50rainbow if you're lost in a stack that's
28:54okay come on black I'm
29:03I think show up to me I appreciate this
29:06unique opportunity I'm going to rock so
29:08hard you never stop supporting me I'm
29:16to the project displays nja bis's
29:19noticeable Improvement as a producer
29:21this development is often credited to
29:24Fat John and the impact he had on njais
29:27following their collaboration on Samurai
29:29shlu this quote by FaZe Rock summarizes
29:32it they were doing that project together
29:34so they ended up in the studio together
29:36for a little while you get a different
29:38naab after that in my opinion to me it's
29:41like night and day after that period his
29:44music got way better a lot more musical
29:47especially when he started to
29:48collaborate with uama hiroto hiroto
29:51worked very closely with June for years
29:54a lot of moto so is nujabes and hiroto a
29:57lot of the later stuff is also if you
30:00pay attention I love that era of his
30:02music when he started to incorporate
30:05hiroto's playing into his tracks I'm a
30:07big uyama hiroto fan the later trips I
30:10had with June he was starting to play
30:12more instruments trumpet and flute which
30:15is another faton influence I think after
30:18Moto soul and towards the end of 2007
30:21njaes released Hout production second
30:24collections it was the last official
30:26album he released while he was
30:39alive but it seems like it isn't in the
30:55the let that b light tell you what time
30:58it is you know what I'm
31:12saying in the project njaes Dove deeper
31:16than ever into that Moody and
31:18Atmospheric sound the project was
31:20released still in the midst of Samurai
31:22sh pl's fan wave and at that time njais
31:26music was also St starting to blow up on
31:28YouTube thus cementing his International
31:31appeal okay let's finish this off with
31:33Loi and the connection between DEA and
31:36nujabes the previously mentioned
31:38influence metaphorical music had on Loi
31:41And the emotions present in Hideout
31:44production second collection display a
31:46strong link between njais work and
31:49modern Loi regardless of that nja bis
31:52collaborators say that even though those
31:55who say he influenced the current wave
31:57of low fight aren't wrong there is some
32:01misinterpretation there are a lot of
32:03great examples of where Loi came from
32:06than just njais or D many artists were
32:10already making this style of music
32:12before Dua bz and DEA came along to
32:15popularize it on YouTube therefore they
32:18definitely didn't create the genre and I
32:21don't think they would even claim
32:23themselves as lowii hip hop producers if
32:25they were alive today for njais after
32:282007 he took a break from production
32:31during this time he was looking into
32:33ways of making happier and more
32:35uplifting music the shift was noticeable
32:38even before his break since nujabes was
32:40already experimenting making dance and
32:43house music using four on the floor kick
32:46patterns on tracks like worlds and rap
32:55city as for de it is very difficult to
32:58imagine that he would be okay being ping
33:01and hold into one genre he even
33:03renounced the concientious music maker
33:06label that came with his collaborations
33:09with tribe and in the later parts of his
33:11career daa tried very hard to make his
33:14name stand by itself instead of it being
33:17synonymous with groups like The Uma daa
33:20was always innovating and pushing the
33:23boundaries of what a producer could and
33:25should do comparing the Neo work he did
33:28with the so aquarians with the later
33:30bapes like donuts the feel and emotion
33:33are present in both but daa's later work
33:36is filled with experimental cuts that
33:39are a bit jarring to listen to even
33:42though it is some of my favorite stuff
33:55sparkl the name of the game
34:12light so the connection between them and
34:14Loi is not as evident as every online
34:18article suggests even on the production
34:21side of it over simplifying current Loi
34:24it is finger drumming over YouTube rips
34:27of old jazz songs or like I call it Jazz
34:30for Millennials but I believe that this
34:32low five formula can be credited to a
34:36combination of daa drums and naab Biz
34:39Melodies but also a bit of daa Melodies
34:41as well early on njaes was criticized by
34:44FaZe Brock and fat John because his
34:46drums were quantized he lacked swing
34:49which for them at the time was a
34:51cardinal sin nujabes would grow out of
34:53this phas a clear example again is world
34:57and rep city as you can see its four on
34:59the floor kick pattern is imperfectly
35:02onbeat nonetheless like I said I don't
35:05think Loi producers were necessarily
35:07inspired by naab's drums but they
35:10certainly were inspired by his Melodies
35:13his simple selection and the emotion
35:15that they carry as for DEA they 100%
35:18took his swing DEA humanized the NPC
35:21taking the finger drumming Pioneer by
35:23the likes of beat rock to the extreme
35:26there is more concrete evidence of the
35:28connection between Loi and nujabes sound
35:31compared to dillas regardless it is hard
35:33to listen to his NEOS so work and beats
35:36like trashy dreamy and purple and not
35:40see the impact that they may have had on
35:57for as all over the place DEA sampling
36:00was throughout his career his Chiller
36:03beats can put you on a trend hypnotizing
36:06you in a way that you can listen to the
36:08same beat on the loop for countless
36:10hours on YouTube they even called this
36:12homework edits I spent my whole college
36:15career listening to them while I was
36:17studying and doing essays by the time
36:19they passed away both of them have moved
36:21past this sound however the impact that
36:24era of their music had can still be felt
36:27today over a decade later it was a
36:30beautiful time on YouTube prior to the
36:32late 2010s before Spotify and even
36:36before SoundCloud YouTube was the best
36:39place to listen to music for free while
36:41discovering new music through what it
36:43felt like an incredible algorithm sadly
36:47this isn't the case anymore since you
36:49hardly see beats and underground music
36:52on your recommended page and since
36:54YouTube doesn't want you to use their
36:56video video platform as a music app but
36:59I'm going to leave that topic for
37:00another video now finally the connection
37:03between daa and nujabes even though
37:05their birthdays and the life they LED
37:08created this weird connection I didn't
37:11think they knew about each other when I
37:13first started this video but now I find
37:15it hard to believe that they wouldn't
37:17have known about each other substantial
37:19said that Jun was always digging for new
37:22music and he was a huge daa fan and it
37:25seems obvious that he would be da was
37:27already making waves in a music scene by
37:30the time njais first started producing
37:32and because he worked on the business
37:34side of Music he was always digging for
37:37up incoming artist he would then of
37:39course stumble upon de's work as for D
37:43annoyed about nbis there is the Jay
37:45loves Japan tape which may suggest that
37:48he may have been more tapped in into
37:51Japan's music scene that one may think
37:54but the evidence I like the most is that
37:56he was featured in a Bape with forcea
37:59nature the same force of nature that
38:01would go on to work with nujabes on
38:03Samurai Shan PL OST I'm still not super
38:06confident about that though because they
38:09didn't collab directly on a track their
38:11Works were simply packaged together on a
38:14b tape and that tape was released on
38:162002 so prior to saman Blues ostd but
38:21that is it I was struggling to find a
38:23way to conclude this video since it has
38:25been such a long process I had the idea
38:28for this video over a year ago and have
38:30been working on it on and off for the
38:32last 6 to 8 months it all started with
38:35this big idea that I had that it got
38:37split into two ideas because I kept
38:40doing this long tangents while I was
38:42writing the script and then one of these
38:45tangents got split into two new ideas
38:48and one of these ideas became this video
38:50the whole process was exhausting and
38:53also very challenging so please consider
38:55subscribing if if you made it this far
38:57but more important is what I think the
39:00moral of the story is what those you
39:02inspire can do or more broadly
39:05inspiration this was way more about what
39:09those who were inspired by daa and njab
39:11bis went on to create than what D and
39:14njais created themselves if this video
39:17was solely about them I could have gone
39:19way deeper into their stories but let me
39:21get personal for a second I did an
39:23insane amount of research into daa and
39:26nja Bas stories but still I feel no
39:28attachment to them as individuals my
39:31attachment is towards their art and that
39:34is what I will carry with me as a
39:36Creator the whole Journey on YouTube so
39:38far has been about humbling myself
39:41understanding that I won't improve and
39:44evolve into what I ultimately want to be
39:47if I just sit there and produce I needed
39:50to take a step back from creating to
39:52analyze and study the music that makes
39:55me want to make music music and I've
39:57done that over 200 sample breakdowns
39:59that help me set the foundation for this
40:02YouTube channel and over a 100 templates
40:04of track breakdowns that I am polishing
40:06to try to post weekly on my patreon to
40:09try to grow it I think I've done enough
40:11I did my research paid my dues towards
40:14my Inspirations and have developed the
40:16fundamentals but in the last 3 years
40:19I've become a pro at analyzing music
40:22instead of creating it so now it's time
40:24to slow down the content slow down the
40:27analysis and studies simple breakdowns
40:30and try to use all that I've learned
40:32from my Inspirations to make some cool
