Jai Wolf. Courtesy of artist
Sajeeb Saha, though more commonly known as Jai Wolf, became a household name for fans of dance music when the DJ had a song of his played at Glastonbury by acclaimed artist Skrillex. The 23-year-old from Bangladesh, who is currently on tour for his Kindred Spirits EP, will make a stop at White Oak Music Hall on December 2. While on the road, Sajeeb spoke to Free Press Houston about his recent release, “making it,” and what it means to be an artist right now.
Free Press Houston: Jai Wolf is an interesting name, but it wasn’t your first choice. Could you explain how heavy metal got in your way? Sajeeb Saha: Yeah, I wanted to be Dire Wolf, which is an animal from Game of Thrones, but my team said the name sounded too heavy.
FPH: To go even further with that name, you started at the name “No Pets Allowed.” Saha: Yeah, that was the EDM project that I was doing.
FPH: Lately, I have been very curious with artists and their relationships with subgenres, but you are the first solo musician that I’ve asked about; are there certain exceptions — in this case DJ’s — for using subgenres? Is it more necessary for your kind of music? Saha: I just really like electronic music, and I love EDM in general. I think that, personally — from a musician’s standpoint — that [EDM] wasn’t my creative needs, and it wasn’t something I was wanting to do for ten years. I didn’t want to do dance music for ten years. I just wanted to get really serious about making music, so I decided to take a step back and evaluate what I enjoyed, musically, and what I felt would be more timeless sounding music.
FPH: What is “making it” in music, and do you believe that you have achieved it? Saha: I don’t really know. I guess that could be defined in a number of ways. I guess, to me, it’s making sure that people are happy with the songs that I’m making, and it makes them feel something, you know? It makes them feel nostalgic and youthful. It just takes them to a different place and it helps them get through it. That’s how I would define personal success.
FPH: What about having “Jai Wolf Height Weight Body Statistics” as the fifth result on Google images for Jai Wolf? Is that flattering or creepy? Saha: [laughs] I have no idea what that is. Sure, I guess that’s making it. That’s funny. Did you say body statistics? Yeah, that’s kind of weird. I have never come across that. This is the first time I’ve heard of it, but that’s pretty fun. It’s funny that it’s exists. I got one the other week, because it was my birthday, this famous birthdays account on Twitter. They tweet out stuff like “It’s this person’s birthday.” They tweeted me and I thought “I am not a celebrity, I’m literally just a kid making music.” I thought that was kind of weird. Yeah, stuff like that is pretty weird.
FPH: When you started out, do you remember what went through your head during your first sold out show? What’s changed about that and these upcoming? As in, how have you changed? Saha: I feel like the surprise of selling out a show is still very fresh, and I still get the same reaction, because — you know, I live in my parents basement, making music. So when I step into the world and play these shows, I am always thrilled to hear if a show sold out. Two years ago, when I was just starting out — actually, it was this year — when we started getting to play much larger venues, it was a really pleasant surprise for me, for sure.
FPH: Bands like Kiss were — by all means — marketing geniuses, especially with merchandise on tour, and I feel like you have a unique approach for merch, too. You have pillows with a wolf on it. Why did you decide to bring something like that on tour, being that you wouldn’t associate a high energy set selling something associated with sleep? Was it ironic at all? Saha: It was just a simple idea, it was nothing crazy. My manager was just like, “Hey, we should make pillows.” We were just trying to come up with creative ways to make merchandise, we were just trying to think out of the box. I think it’s more so a coincidence that the wolf is sleeping and we made a pillow, but it went really well, hand and hand.
FPH: Recently, your EP, Kindred Spirits, was available to stream. However, this was a day before scheduled. Why did you decide to release it early? Saha: I think most things get released a day or two early for streaming, so that was a marketing thing, you know? Any album or project that comes out is usually streamed early.
FPH: For the record, I wanted to let the fans know that Billboard has already labeled it as “breathtaking and emotional.” How important, to you, is leaking albums? Is it as bad at the top record executives say they are? Saha: You know, it’s funny, because when you’re on the other side, you start to understand how everything works. There’s a method to the madness. I think, before, I would jump on most things that were leaked early. Nowadays, if I’m on something that leaks, I usually wait. Not out of courtesy, I just don’t trust the quality of the leak, usually low quality MP3’s. In terms of leaking stuff myself, I don’t think I’m much of a believer in that, you know? As much as I’d love to have everyone listen to the material ahead of time, I think that there’s a reason things come out on a certain date. I know that sometimes, when an artist is on a major label, their project keeps getting delayed and delayed and they leak it themselves. People do that. However, you need to be at a certain level before someone cares that you leaked it. If I leaked my EP, I don’t think that it would be big news. People wouldn’t be like, “Oh, Jai Wolf leaked his EP, or whatever,” you know? You need to be a star to leak your EP. I feel like that strategy doesn’t work for artists at my level. Basically, there’s a specific reason for the release date, you know?
FPH: Is it fair to say you sound like “Noah ’40’ Shebib dropping some downtempo EDM”? Saha: Yeah, so you’re quoting the Rolling Stone article from last year, right? I found that to be a compliment. I felt like some of the stuff I was writing in 2014 was definitely similar, but not the EP. The EP definitely isn’t like Noah “40” Shebib. At that time, I guess that was the most similar thing that they could have said about the music they were writing on. There were similarities, for sure. “40” is an incredible producer and has made really cool records with people like Drake.
FPH: How did that Rolling Stone writeup advance your career? Saha: I doubt that it made any waves. I think that it was just cool that Rolling Stone was like, “check this guy out,” you know? It was more of a benchmark, like I was in Rolling Stone, you know? I don’t feel like the article necessarily propelled my career greatly or anything.
FPH: Was it bigger than the Skrillex drop at Glastonbury? Saha: No, because with the Skrillex drop, there was a video. It was a bigger deal that lead to something larger: being signed to Skrillex. Because Skrillex has a larger audience, people— no one is reading Rolling Stone and thinking, “Oh, I want to check out this person.” When people are looking at idols like Skrillex, who is cultural influencers, they check out someone he tells them to. It’s a lot bigger than a publication telling people to check out a person, in my opinion.
FPH: I think we’re all tired of talking about these past few weeks, but as a musician, how important are these next four years as someone whose message is through the form of art? Saha: I think it’s very important. I think art is a lane where you can truly express yourself and how you feel. I think that many people will agree, these next four years are looking to be a very rocky and tumultuous time, and I think that art is a great way to escape from that. I think’s important. Art is here to make people happy, nostalgic, and warm. I think that it’s important to the livelihood of anyone, it doesn’t matter where you’re from. It doesn’t have to be America. Music has the power to heal, for sure.
FPH: Do you hold yourself to an even higher standard to that, being that you are not originally from the US? Saha: I can’t speak from the viewpoint of being from the United States, so my experience could be completely different. I don’t know. I try to looking at things very empathetically and objectively and try to understand why things are the way that they are. But being that I have a different experience, I think I can come in and be like “okay, things are clearly wrong here.” I don’t know, maybe I try harder, for sure. Just to make sure I can better the World however I can. I’m just here to do my part. No matter where I came from, I hope that — if there were alternate universes and I was from the US — I would be the same person inside.
FPH: Do you believe that a resurgence of bands like Black Flag is possible under these circumstances? Saha: I was thinking about that recently. I wasn’t too into punk rock music, but I can see some anti-establishment stuff rising these next four years. It will definitely be cool to see if there’s a resurgence in that genre, you know?
FPH: I wanted everyone to know that you come to Houston to perform at White Oak Music Hall on December 2. For the ones who don’t have tickets yet, what’s the number one reason to see you perform live? Saha: The show is very unique. It’s different from any tour that might be coming through Houston, electronic act-wise. The stage we have is very grand and big, and I think that the show is a very dreamlike experience. You can hear the full EP live. I think it’s very special, and the team behind it is really cool. from http://www.freepresshouston.com/getting-really-serious-an-interview-with-jai-wolf/
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from http://houstonfoodblog.com/houstonfood/houston-food-blogs/fall-into-these-fall-menus/ Here we are again, the start of another holiday season. The next month will be filled with parties, presents, delectable treats, and wonderful memories. It’s the most magical, wonderful time of year, right? Wrong. At least not for this mom. I’ll be the first to admit it, I’m a holiday Scrooge who gets stressed and easily […] The post Changing My Attitude This Holiday Season appeared first on Houston Moms Blog. from http://feedproxy.google.com/~r/HoustonMomsBlog/~3/b1yoUIht0s4/ A Stone Landscape by Klaus Wagener | Flower Factor How to Make | Powered by Deliflor Chrysanten11/28/2016 I love traditions and family rituals, so it’s no surprise that when the winter holidays come around, I get really excited. Surprisingly, I have come to enjoy Advent just as much or more than Christmas. Traditionally, Advent includes the four Sundays leading up to Christmas, and it’s a time of preparation and waiting. But the […] The post Two Simple Ways to Celebrate Advent With Your Family appeared first on Houston Moms Blog. from http://feedproxy.google.com/~r/HoustonMomsBlog/~3/Lae16aNkGhM/ It’s amazing how such diverse films as Elle and Bad Santa 2 have similar genre traits. Both film delve into politically wrong humor and boundary pushing situations. Only Elle is an art film supreme, from acclaimed director Paul Verhoeven and full of metaphors and innuendo and unexpected feelings. It’s a cold and dark beating heart, but it has a soul and an afterlife. By contrast, Bad Santa 2 has no pulse. Bad Santa 2 will be best remembered for its malapropism “the ejaculate conception” rather that any of its pussy, midget or sodomy jokes. BS2 is a forgettable walk to the parking lot. By contrast Elle starts with a brutal rape scene heard only in sound while the reaction cut-from-black shot is of Elle’s cat. From then the film becomes convoluted in themes of masochism and sociopathy. But that’s just the tip of the iceberg. As far as Elle’s concerned you’re living in a world of constant heartbreak only relieved by occasional glimpses of cruelty to others. Verhoeven specializes in pushing audience buttons, whether it’s foreign films like Spetters or Black Book or his American films like Basic Instinct, Robocop and Starship Troopers. Elle is Verhoeven’s first film in French. Isabelle Huppert refuses to go to the police after her assault. A second act reveal informs the audience that she distrusts all authority because at the age of nine her father committed a series of brutal murders and she was vilified just for being his daughter. Meanwhile Huppert as Michéle Leblanc hates her mother who wants to marry a man younger than both of them and supports her delusional son while also despising his fiancée. There is no character named Elle by the way, not unlike Kenneth Lonergan’s film Margaret, which has no character with that titular name. Elle is a French word for “she.” Michéle is a real piece of work, calculating her cruelty to others in small doses. She also runs a video game company that specializes in fantasy worlds where violence and rape are common. Perhaps Verhoeven is weaving images with a sense of cinema of cruelty. That involves the game imagery but also a windstorm where shutters must be utilized to keep windows from breaking, or a bird flying into one of Michéle’s windows and her trying to help it only to have her cat grab the bird out of her hand. Certainly that applies to Elle’s repeated rape fantasies. There’s a three other plot twists that I’m avoiding in order not to spoil audience expectations. Yet Elle is a film you will not second-guess. Elle unwinds exclusively at the River Oaks Theatre. Also On: The Eagle Huntress (exclusive at the River Oaks Theatre) plays like a narrative feature but was actually shot as a documentary among Kazakh speaking people in Mongolia who use trained eagles to hunt for their food. Director Otto Bell spent his life savings filming in harsh conditions that include deep snow and howling wind. The focus is on a thirteen-year-old girl, Aisholpan, who defies centuries of tribal tradition to become the first distaff eagle huntress. Allied boasts a strong cast, story and production values. Brad Pitt and Marion Cotillard provide star power under Robert Zemeckis’ assured direction. The WWII story starts in Casablanca, moves to England with a diversion in France. Treachery begats spy missions begats loyalty. Allied is a tasty film to feast on. Some genre similarities to The English Patient and Mr. & Mrs. Smith. Nocturnal Animals refers to both a dark novel and a life of anxiety. In parallel stories a rich artist (Amy Adams) puts on shows that feature naked obese women dancing at an art gallery opening. Her husband may be cheating on her. She’s recently reconnected with her first husband. He has sent her a galley of his novel “Nocturnal Animals,” which details a bleak story of a family being run off the road late at night and kidnapped by psychos while on their way to West Texas. Director (and fashionista) Tom Ford provides two views of society – opulent and backwards. Cast includes Armie Hammer, Laura Linney, Jake Gyllenhaal, Aaron Taylor-Johnson, and Michael Shannon having the biggest impact as a sheriff who takes the law into his own hands. from http://www.freepresshouston.com/film-facts-elle-bad-santa-2-more/
from http://houstonfoodblog.com/houstonfood/houston-food-blogs/smoked-cured-egg-yolk/
from http://houstonfoodblog.com/houstonfood/houston-food-blogs/seasonal-cheesecakes-at-cheesecake-factory/ MAKJ. Courtesy of the artist’s Facebook
With our appetites growing bigger and bigger each day as the holidays arrive, the notorious Clé Houston has a juicy Thanksgiving eve special this year with California based DJ MAKJ on the menu. MAKJ comes from a very unique and tasteful background starting from an open-minded yet hard working, driven family, all-embracing musical influences and mentors, and an undeniable passion for his career pursuits and devoted followers. Free Press Houston had the opportunity to chat with him and pick his brain a bit to further understand what truly makes him MAKJ.
Free Press Houston: Taking a look back, you have been DJing and producing for about 10 years now, did teenage MAKJ ever imagine his music career blowing up to this proportion when he first scooped those 1200’s [Technics] back in China? MAKJ: Probably not. DJing wasn’t too big in the states around that time so I really never thought the industry would get to the point where it’s at today. Now it’s like DJs are the new rockstar. It’s almost to the point where as a musician I can talk to anyone that doesn’t know anything about music but they’ll know, “Oh a DJ, I know who Tiesto or I know who Diplo is.” It’s crazy to me how the industry has gotten to this point, it’s cool for a lot of guys including myself, I made a career out of it and I am currently sitting in my studio right now making music on a Thursday afternoon, it’s crazy. So definitely not, I never really thought it would get to this point.
FPH: You were on a different career path when you were out there in China and I am pretty curious about that, so you were going to be a professional race car driver? MAKJ: Yeah, I had a pretty intense childhood. My step dad is really big into racing and he actually still races to this day, he owns a team and that’s his priority, that’s his job. So I have two older brothers and none of them wanted to kind of relive his past I guess and I was like, “I’ll do it!” I didn’t have to go to high school, I got to drive cars. It was more of a hobby when I was like 10, 11, 12, then it started turning out to be a serious passion of mine and, of course, my step dads. It turned out to be a crazy childhood but that’s actually how I got into DJing. I was living in Asia and I would go out to the clubs almost every single weekend because there really wasn’t an age limit over there, it’s more like if you’re above a certain height you could get into the clubs. So I would go out when I was like 15-16 and kind of do that shenanigans that young and really get to see what a club was like because over there it’s insane. It was eye opening for me getting to see a DJ for the first time, I was like, “Whoa what is he doing? He’s mixing an AC/DC record with a Beastie Boys record.” I was blown away, I thought it was pretty rad, I was that guy at that club that night. I was looking at what he was doing the whole entire night and he was like, “Dude can I help you? I’m making music.” We call that trainspotting.
FPH: That must’ve been crazy fun, how long were you in China? MAKJ: I grew up in California and I moved to China when I was about 15-16 because it was a lot cheaper to race over there. The series that I was racing in here in the states was really expensive and my parents couldn’t afford it so one day they said, “Hey we found some sponsors, they are based out of Macau in China and they are willing to sponsor you for a full ride over there in Asia,” so we took it. It was just an opportunity that I couldn’t pass up that lead to this.
FPH: Transitioning pursuits from driving on the tracks to laying down the tracks must’ve been a surprise to your family considering that big move we were just talking about. Who or what was the influence that sparked that musical drive in you? MAKJ: I grew up in San Luis Obispo, it’s a really small town in California, there’s about 40,000 people that live here so it’s super small. It’s between LA and San Francisco so I was really big into surfing and traveling with my buddies, you know, just being a teenager. I grew up listening to a lot of eclectic music like a lot of classic rock, a lot of really low key reggae, and I was always that guy with the iPod going -no let me plug it in, let me plug it in, let me give you this cd. I would always make my buddy CD’s, I was that guy in the group of 5 of us. Music was very interesting to me and I was always the kid that was listening to really weird stuff, I was listening to like Savage Garden when I was like 11 years old. My brothers were listening to like N’Sync and Backstreet Boys and I was listening to Savage Garden and Metallica. I just grew up listening to really cool music and my parents didn’t really care what I listened to. They weren’t the type of people that were like, “Oh no, parental advisory, that’s not gonna happen.” My mom would give me 20 bucks and I could go into the music store and buy as many records as I wanted when I was like 10 years old. I just come from a really rad family, that’s basically how my music started.
FPH: I read that you had the chance to have some private scratch lessons/sessions with the late great DJ AM. How did you two get set up together and how did that relationship drive you as a growing artist? MAKJ: It was definitely a lot more than private scratch lessons. It’s kind of like a misconception when people read that “[DJ] AM taught him,” he never really taught me anything. Once I started DJing and once I started dabbling with making my own music and making edits for these other DJs, I really didn’t think that there was a career out of it, so I would just give everything out to all of my friends that were DJs. I went to meet my buddy who let me open for him when I was 20 years old at a club in LA and [DJ] AM was there. AM was asking, “Yo who is this kid” and my buddy who let me open for him told him, “This is the guy [MakJ] that always plays edits, if you ever want any edits you should hit him up,” and Adam said, “Yea for sure!” So a couple of days later he hit me up and said, “Hey man I’m friends with Paul, he gave me your number and said you have some edits, do you think I can have some?” and I didn’t know who the guy was, I didn’t know who AM was, I wasn’t really into the scene and I didn’t think, “Oh, I need to Google him or something.”So I sent him a bunch of edits and he said that my stuff was pretty rad and he asked me to go down and show him how I did them. So I go down to LA and that’s how we met. It really wasn’t really just ‘he just taught me how to scratch,’ it was more of a friendship. He ended up being like a father figure to me, he taught me who I should hang out with and what clubs I should go to and who I should watch out for. He really had his hand over my head and he would tell me, “Well you need to do this, you need to do that and you definitely don’t need to do this.” It was a cool experience for about a year and a half.
FPH: That’s really awesome, do you have a fond memory looking back that really pops out to you? MAKJ: I remember one time in Vegas we were sitting down eating and there was like 5 of us, he was sitting next to me, and Adam he said, “This is the guy, if you ever want to play in Vegas this is the guy his name is Jesse Waits” and the name just stuck to me you know, Jesse Waits, it was easy to say. About 2 years later I got my first residency in Vegas and it was at XS, the guy that booked me, his name was Jesse Waits. That was one of the fondest memories I have of what Adam did, he helped me get that residency at XS, my first ever residency and I was playing in the best club in Las Vegas. That was pretty memorable.
FPH: So to be honest I am a pretty big fan of learning the fact and I have to ask, where are the Technics and are you still practicing the art of scratching? MAKJ: You know what, the art of scratching is the art of scratching. It’s one of those things that a lot of kids don’t really give a shit about anymore. I could literally be playing in front of 25,000 people and have cameras on my turntables and on my hands and I could stop the music and start scratching and no one would know. It’s a lost art and it’s sad because 2 or 3 years ago it was really dope I mean Q-Bert, D-styles all these DMC guys were really pushing it and they still are but it’s a lost cause, a lot of kids don’t really care, fans don’t care. There are a lot of videos out there of myself and A-trak, TJR, a lot of these guys that are still DJing and trying to scratch and really trying to push it still, but it’s hard. Really putting the effort to show these kids that it really is an art, it’s really hard because there’s only so much you can do with a scratch. There was a video I was watching of DJ Snake and I never even knew he could scratch, there was a video of him doing it and I was like- wow that’s super rad there’s another guy out here pushing it, but no one cared, no one cared and it just sucks but that’s the way of the generation I guess.
FPH: Other than touring around the world and killing it behind the decks while on stage, what equipment do you prefer to use when you are in the studio? MAKJ: I recently just got a lot of new stuff for my studio. I just released a remix of Rae Sremmurd’s “Black Beatles” and I did that actually just on my laptop with my headphones. I mean it’s endless, that’s the beauty about producing you can be anywhere and produce a song from scratch and have it sound just as good as something on the radio which is nuts. I use Logic, nothing crazy, and I just got an endorsement by Universal Audio which is dope, so shout out to Universal Audio for giving me a bunch of free stuff. It’s endless with production.
FPH: Do you practice any other musical instruments? MAKJ: I can’t play a musical instrument for the life of me. I can’t even do a cord on a guitar or a piano. It’s pretty funny when people come into my studio and ask if I can play the piano and I tell them no and they are like really? It’s basically a fake industry. I just think DJing has opened my eyes to music and I produce a lot of the stuff that works for me and my DJ sets and I guess that works for a lot of other people. That’s how I go about producing, if this is going to be playable I am just going to make it and if I really want to try some different stuff I will do that for my own sake and release it on my own time. But a lot of the stuff that has made me MAKJ or who I am with my style is because it’s been really playable and it’s been playable for a lot of these DJs so that’s how I have gone about it.
FPH: I love the fact that you are so responsive via social media and I know fans can appreciate it as well. I saw that you have an app for easy access to you and your music. Can you explain the functionality behind it and what it means to you to keep that personal communication with your fans? MAKJ: That was a very, very intense question. Social media is social media and everyone always has their phone in their hands so might as well reach everyone with their phone, it’s always on them. My team and I thought of an app, it’s crazy too because the app hasn’t even been released yet, but the app is the way of letting me communicate with my fans on more of an almost romantic level, I am closer to my fans having them help me throughout my career so I want to give back to them. Facetiming them when they are producing, going over their projects, it’s just one of those things where if I didn’t have the help that I had when I was early on in my career I would never be where I am at today so might as well pass that down. I want to show everyone it isn’t as easy as I’m telling you it is, you have to put in that work and put in that time. That is basically what I did, I just worked my ass off until that happened.
FPH: I got really excited when I found out about your radio show, I have my own that I have been producing for about a year now and it’s been a very rewarding experience showcasing artist growing in the industry. What is the name of your show and what is the format you follow? MAKJ: The format is anything, it’s kind of like my DJ style. The problem is I do a weekly show and to do a weekly show it gets super hard, you have to always spend a full day doing it and formatting it. It’s a live mix, an hour long set on SirusXM, it’s called Revolution Radio and I am now done with 200 shows. It’s open format, basically how I play when I am live.
FPH: Do you book other artists for you radio show? MAKJ: I do a lot of guest stuff but it is always around festival season because I can access them easily. I always do guest appearances when I am in New York, I go to SirusXM and I bring some cool people in. Everyone that I interview usually has their own radio show so it’s always hard to fill them in so I bring talent in when I can. It takes a lot of time and it’s just usually easier for me to do an hour mix in my studio.
FPH: I just wanted to congratulate you on all of your accomplishments so far, we are the same age and it’s pretty incredible seeing such success in your career that seemed to happen pretty fast. What has been the hardest part of your music career so far? Can you name one time that sticks out when you felt like you just couldn’t deal? MAKJ: Yeah, there has been a lot. If you ask my manager this question he will tell you every single day is hard you know. It’s been a battle from writer’s block, to traveling, to not seeing my family and my friends, my social life is non-existent. It’s one of those things where a touring artist is actually a touring artist. Everyone kind of has a different perspective of what we actually do as artist. If you ask anyone this question they will kind of tell you the same thing, it’s really hard to be away, it’s hard to be traveling every single day. It’s almost like a fairy tale life that you don’t know how long it’s going to last for and you’re always competing with everyone else. So when that drive stops, when the drive stops and if you wanted to work on music and you’re doing it every single day and you’re playing festivals every single day and it’s just the same old same old every single day you start getting really really annoyed. I had to go through that last year, it was my 4th year touring I believe. In 2013 I think I was the second highest touring act in the United States, I think I toured almost 340 shows in a year, it’s almost like 2 shows a day. It’s really hard, it’s to stay healthy, like I said, to stay close to family, friends, girlfriends, boyfriends, whatever. It’s one of those things that takes a toll on your body and if you figure out a routine and you start to be more conscious about it then you feel like you’ve solved the problem.
FPH: All of the serious questions are out of the way and I wanted to fit in one lighter question before the end of the interview, what is your favorite go-to food while on tour? MakJ: Geez, I don’t know. Maybe if you would’ve asked me this 2 years ago I probably would’ve said Sour Patch Kids. I cook a lot when I am home and I really get into going and finding really low key spots in the cities that local people eat at. There’s this one show called “Fuck That’s Delicious” with Action Bronson and I watch that almost every single day and it’s eye opening to me because he does the same thing I do when he goes out, he does what I want to do. I like trying new stuff, I am open to anything. There isn’t really a favorite food but if I could eat one thing for the rest of my life it would probably be waffles or something.
MAKJ performs tonight at Clé Houston (2301 Main). from http://www.freepresshouston.com/it-really-is-an-art-an-interview-with-makj/ |
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