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“Like a child set free in a room of canvas and stages and paints and crayons and costumes, so I try to live now.” most treasured music photographers. This is because music bleeds from this guy. His love and appreciation for the art, as well as the art of photography is so pure. You can see it in his work. That is the kind of work I am interested in. Dali said “an artist is really no good unless he is possessed, or obsessed.” Doug is both. You play with light and dark, not only in your music, but also on your album covers, images you seem to like, etc.  What do you find intriguing about playing with simple shades of black and white? If you had to put yourself on a personal spectrum between black on one end and white on the other, where would you land? Haha! Wow, I didn’t realize how great these questions were going to segue. Dammit, I guess I am that guy who annoys you at parties with his stupid quotes, but to quote on of my favorite filmmakers Jim Jarmusch, “Black and white tells the truth.” I guess in a way I see the world in black and white. As far as personal spectrum, I would say as extreme on the white as possible, and extreme on the black as possible. You have featured Agina Alvarez (The Voice) on your albums.  How did you get involved with Agina?  It was also a kismet situation. After writing certain songs on Black Box, I knew I heard a female voice on it. Not just any female voice, but a strong, powerful female voice. I had no idea where to turn. But on a whim I asked my uncle, who works with singers, if he knew anyone who would be right. He said right away “Agina.” I didn’t know her before that, but I called her up and sent her the tracks and asked if she would be interested and she said absolutely. She came over to the studio and when she opened her mouth I was beside myself. I did everything

in my power not to laugh or cry just so we could get through the session. She did everything in one take. It’s one thing hearing something in your head, it’s another thing hearing that and have it blow your mind. I am still so grateful to this day that she lends her incredible talent to my tracks. Cue is another regularly featured artist. When you feature another artist on your songs, do you enjoy the collaboration process? Do you feel it’s important to develop a longstanding relationship with the people you feature? How closely do they work on the music with you? Who would your dream collaboration be and why? Cue is another one of those raw talents. He has been a great friend of mine for years, and it started out as just that. We recorded White Noise at my friend James Earl’s studio, and every day there were incredible talents walking in and out of there, including the likes of Frank Ocean, who I think is brilliant. He was writing his debut album Channel Orange just downstairs while we were making White Noise upstairs...James and Cue are part of a group called Future 3, and they do some amazing and wild stuff. The third is this guy named Axl Foley, who is actually producing a ton of stuff for artists like Kendrick Lamar and Mac Miller who I think both have much to say, especially Kendrick Lamar. I absolutely enjoy the collaboration process. When collaboration works, it is so beautiful. I have been very lucky to have amazing collaboration experiences on this project; from Roger Romero, my partner in crime and producer, to Cue, and Agina, and James and Emay. They all do their stuff mostly in one take and kill it. I prefer first takes anyways. There’s always that freshness to it without over thinking. Once you find people you collaborate well with, you

don’t want to let them go. If there is a trust there, I usually always let the other artist do whatever they want. And there’s always a trust. I sometimes give them a template of what I hear, but I always say “change it all if you want and take it to wherever you want to go.” When that happens and the floodgates are open, magic happens. As far as dream collaborations go, I would say if I could bring Jack Kerouac back from the dead and have him do his bee bop jazz poetry on a track of mine, that would be bliss. Aside from music, you are also an established actor. What has your acting experience brought to your music?  Are all musicians actors in some capacity? Like I said before, I think all forms of expression are the same to an extent. I have had very similar if not parallel experiences with acting as I did in music. I am talking of the whole spectrum, of collaboration, and purity, and truth, and freedom, and nonfreedom, and business and money and the jungle, etc. I don’t see acting as anything different. Like a child set free in a room of canvas and stages and paints and crayons and costumes, so I try to live now. Can we get a Scott Kid video sometime in the near future? We shall see. It depends if the right person comes along for the right reason. I have no need to make a music video at the moment. I get the release I need just recording and writing the music. I would much rather focus on making my own films, which I have just begun the process of; the next form of expression.  If you were to write an autobiographical song about your life so far, what would the title be? Tiny Dancer. 

Download Scott Kid’s music for FREE here: www.scottkid.com ISSUE ISSUE SEVEN NINE

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Fourculture issue 9  

A bimonthly magazine & blog bringing you art, music, literature & compelling societal views.