 Hello, my name is Genius Black. Right now, I am at Portland Media Center sitting inside the recording booth, aka a whisper room. This is where I actually record all of the intro sections for the mains Black Future podcast. So I set up in this space with my nice condenser microphone, and I do my vocals right in this space and tell the story of one of the historic Black main figures that inspire me, and I believe will inspire many of you. After I record the introductory historical section, I move over to the podcast recording studio here at Portland Media Center, and I can sit down and have a conversation and engagement with one of the Black leaders that's currently influencing Maine and weaving Maine's Black Future. Dallas, Texas, okay. How'd you like growing up in Dallas? For me, you know, home is home for a lot of us. I loved it. You know, I played football, I did basketball track football every year. Eight tons of Tex-Mex or Mexican food, as well as this other food. So yeah, I love growing up in Texas. I'm cool with the heat. I can do it with all that. But yeah, I had a lot of fun growing up, you know, of course I'm in a different place now, but yeah, grew up in Texas. And I don't want to dismay, but do you think, I mean, people say that people in Texas are very friendly? Is that true compared to Maine, even? Yeah, you know, what's interesting is, yes, people, I think, down south tend to be some, what, nice, but sometimes it can even be fake. It's just being cordial. It's, you know, so I don't know, you know, I tend to find people in Maine very nice. I would say people in Maine are like rugged. They're like, right here for like the gusto. And you can still be nice while doing that. You know, so yeah, I find people in Maine pretty nice. But down south, people, the way that we're taught to act around each other is to be very thoughtful. There's like a Southern politeness there versus in Maine, people are like this rugged individualism. I always find it to be like, in Maine or New England, because so much of the time you're spent indoors, they're more kind of into themselves. Whereas, whereas warmer places, people are outside more and interact a lot more often. I definitely think places that have like the long winters and all that, they have, you have like more of an insular winter as well. And like the culture reflects that. So yeah, absolutely. And so you came up to Maine to go to school? Yeah, to go to Bowdoin in the year 2000. Yeah. I graduated high school in 2000, shout out Grand Prairie High School, because you know, everybody from my high school is going to see this. Well, we never know. But then, aside from just graduating and then taking that summer, I took a string of Graham buses. I remember that because they had this deal. It was like 100 bucks to go like anywhere in the United States, but there's necessarily one bus. So I really took mine. I swear it was like nine to 12 buses all the way up the East Coast, showed up at Bowdoin College and did the thing. You know, yeah, just to talk about that. Great. I remember that. I always thought of that was the interesting thing you can take, go across the country, but it's a long journey. You end up in Des Moines over to here in Nebraska. And you got to connect with a lot of buses. See, the country made a lot of interesting people, too, on the bus. 100%. Exactly. So at Bowdoin, you studied English major, also African, Africana studies? Was that what it's known for? Africana studies was my major. English was my minor. But anyway, same thing. And like for me, so first English, you know, I grew up in Texas, like I always had like AP and honors classes. And so I had literature and I was a pretty good writer. I won some contests when I was young. I've always been a strong writer and I like words, right? That gets me such like in the rapping and the music and stuff we record as well as writing. But you know, English for me was something that I really appreciated at Bowdoin. Again, it was my minor. But my major was Africana studies. And the thing that's interesting about Africana studies, particularly in a college or at a college desk, interdisciplinary like Bowdoin, where it's a local arts institution, you know, I had classes like African American Women's Poetry. Right. You know, which is about women. It's about poetry. It's about the African American experience, about Black experience, all wrapped into a single class. Okay. Right. So a lot of what I did in Africana studies was interdisciplinary and combined multiple disciplines. Did a lot of disciplines all at the same time. Yeah. Or at least two or three at a time, things like that. But again, it was a little arts. But yeah, studying, sometimes people say, well, what is Africana studies? Some colleges or universities, they call it African studies. Because it's true to say it's not African American studies per se, though that might be a part of it. The way I say it is, think of the concept of Africa. Think of her descendants throughout history, all over the world, coming and going. That's what they call the diaspora. Okay. Studying that, the African self and the reality of the diaspora over hundreds of years, that is what we studied in Africana studies. And that makes sense. I mean, you don't want to kind of pigeonhole just to African American studies, let's say, or something like that. I mean, it's so much more historical things going on in culture. Yeah. Exactly. Absolutely. And of course, there's plenty of African American and Black American things that I have studied. I continue to study, literally. But yes, Africana studies and learning about the African diaspora is very, it's quite broad, actually. We were talking before about how we're doing music at an early age. You started doing music as a teenager. Man, I would say when I was in elementary school, fifth grade, that's in elementary school in Texas, I tried out for the choir and I didn't make it. And as the joke slash story always goes, my teacher, who I really appreciated, he was like, Jerry, you did pretty good, but there's not a place for you in our choir because your voice has already changed and our choir is actually called the treble makers. So whether you think that's funny or not, treble, of course, is the high-pitched dial in your car, right? It's not the bass part. My voice had already changed to the bass part. You know what I mean? And so he was like, no, no. And he, because I remember, he was really trying to be like, don't be too discouraged. Next year in middle school, Jerry, they're going to need you. And dude, starting in sixth grade, all through middle school and then all into high school, I was in the choir and I was the bass section leader the last two years. So I was in the choir singing multiple times per week going to competitions all that. I grew up singing. Yeah, because you have a deep voice and you got that deep voice at an early age. So you aged out quickly of the one choir, but he kept going and singing. Yep. And that's, we'll talk a little bit more about that, but you're also, I think, producing music a little bit in those days. Yeah, so I like how you asked that. That love of music early on, dealing with my voice, but then being in the choir, like learning to collaborate. You know, if you've ever church choir, group of friends for the holidays, there's a certain feeling you get when it's you and like, you know, let's say at least three or four of the people singing together. And if he's even more, you really get this kind of vibe, this kind of rush from creating the sound together, particularly if there's great harmonies. But that being said, that, that did start to kind of spiral. I think in a good way for me, thinking about being in the choir, I remember I used to stay after school in middle school. Miss Amy Francis is my choir director. Love her to this day, because she really believed in me, taught me so much. She was one of the first people to start teaching me like a little bit about composing. Like, like we, when sight read music, and I kind of, you know, you might know music, but not know how to read or write it. It's like, not exactly the same thing, right? But she would help me like sit down at the piano, maybe translate some ideas. And we used to have these cultural art competitions in school. And I used to apply, like I used, I put like two pieces of music, three pieces of visual art and like prose and the poetry. And I remember that over the years, I would win three to five awards. And I started winning stuff from music. Not that it was good. I don't remember what it was. But when, you know, when you're in the sixth grade or seventh grade, being able to just translate an idea on the piano to something, they play it back and go, well, dang, that kind of sounds cool. You might be in the runnings, you know, I'm not, I'm not trying to say that I was blowing things out of the water. But I was competing against my peers and I was performing well. And so for me, I think I also had early feedback that like, I sounded good being a bassist in the choir. And we needed that. I won some awards that showed like, Oh, like you're doing something and then people dig on it. And I think that really helped propel me. And then I started producing. I would say I started producing seriously when I was like 15. One time we had went to the studio and I thought it was so cool, but I didn't know how to make beats. But I was inquiring, I knew something about music. And my cousin, let me borrow her keyboard, my cousin Erica, let me borrow a keyboard that her dad had gave her before he passed. And I sit down and I remember because you can make four tracks on it. You know, like, if you're going to practice playing the song, some keyboards can like play the drums in the background. So you know the timing. Well, that's takes at least two tracks, right? I had one where you can record four. It was as I was practicing, I was making beats like a big doll. Right. And that's when I realized, I don't know how to make beats. What? And also when we used to rap, we didn't have that much or any money. So learning how to start making beats early on made it to where we could try to make songs and stuff. I mean, I have other people around me that was good at making beats. But yeah, at all, the entrepreneurship, the musical, synergizing via collaboration all started for me pretty young and rude. Right. And that's it. So let's talk a little bit more about when you got to Portland. Let's take a quick break. If you've been able to stick with us for a minute or two. I will. All right. We'll take a break. We'll hear more about when you got to Portland and what you're doing now. Yes. Okay. Awesome. We'll be right back. Connecting the state of Maine's rich black history to black change makers, weaving Maine's black future today. That's fire. We must stand in the unapologetic claiming and holding of our worth in every room, every interaction, every stage, every boardroom, every bedroom, all of it. Absolutely. I hear that. Yes. We are the flavor. We are the sauce. We are the soup of the day. We are it. Yeah. And we must always remember that. We're right back here with genius black. We're going to talk a little bit more now about, I think 2005 and moved to Portland, Maine. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. After, you know, graduate with Bowdoin and then and or maybe it took a couple more years, but you know, around the time I came to Portland, I mean, at the time I was, I think I was working in sales. And yeah, actually, I started working at Apple. That's what it was. Maybe right before I moved from Runway. And I ended up working for Apple Inc. for 12 and a half years. So I was there for quite, quite some time. It's quite some time. But you know, I think I would say that underneath like when I was at Bowdoin, for instance, I was always doing music in the studio, pulling all nighters and doing school as well. And then when I, you know, after graduating and I came to the Portland area and stuff, I was working, but I was still doing music as well. Sometimes I might get hired to do a couple sessions, maybe sell a beat or something. I didn't take it like a, let me stop everything in my life and just make music because you can't often do that. That's not sometimes the balance, right? But I wasn't able to keep it going. But yeah, I was working in sales and doing different things and getting to know Portland a little bit. And then over time, you know, working at Apple, I met a lot of people and I just kept getting better with media and music and stuff like that. And I started building up, I would say, kind of a crew. I was following my usual suspects. I have these people that I make music with. It became regular. It was more regular at certain times, but you know, people that I knew could really do really solid vocal performances. You know, one of the things, I'm building up to Jim City. That's right. Yeah. And just one of the things that I started to recognize was, you know, some people might hire me to, Hey, man, I want to book four hours in the studio so you can record me. Cool. Someone say, Hey, man, you know, I need you to make a beat or can I hear all the beats you have? I want to buy some, you know, all those things are one thing. But I started to find that it was cool right in session sometime, but honestly, let's be real. A lot of the people who came through to the sessions, I don't really love their music. I'm not going to judge the music. It just didn't hit me. Right. Okay. But I started to notice there were a couple of people that when they came through, even just like, I mean, let's just do something. Like they were dope. Like they were real good. You know, I mean, if I was to shout out some of the names in particular, people like KF Coast, people like Susie Assong. Now, there's people who aren't currently in the Jim City crew. We'll talk more about that. I mean, people like DJ Matt Perry. I mean, there's just a couple of like characters out here that when we came together, Ben Noia's, like, I was just like, did we really leave a session? Like, did we really just do that? That's crazy. They put it all so we can drive home and listen to it. You know, let's me know that you're excited. And I start to keep track of those people and like build relationships with those people. And then after a while, I mean, even when I put out my first album, which is under the Genius Black moniker as an artist, it's called Ferrell's Recipe. It's pretty proud of Ferrell's Recipe. A lot of those usual suspects appeared on that album. This was before we were per se Jim City. I was just again, bringing in certain people, running fewer sessions where people were like, fewer sessions where the person down there around the corner tells me that they want to meet me at five o'clock. So I can report them more sessions where I'm like, no, this beats fire. I wonder what Kev coastings about it. You know what I mean? Like, that, that became more of what I was doing over a couple of years. And then, you know, I mean, it built up, it definitely took a couple of years. But then we got to this place where I started to apply for some grants for a couple of things. Got like another camera. So then that's why I had two and some more stuff and backdrops. And I started, I started to focus on making better quality music by getting more gear. And I started making better visuals because in the world of music entertainment, the visuals and audio go together. You know what I mean? Like right now, there's things are going on while we're recording that you've got to take care of the visuals and the audio. And the audio. You know what I mean? So, but this was the genesis of Jim City, correct? Yeah, yeah. Kind of where it all formed. But at the same time, you were also, was this when you started the black owned main podcast too? Yeah, so the Jim City stuff was bubbling a little bit before, but that summer of 2020, to your point, it really solidified. Like the first Jim City album, any y'all that happens to tour or who want to go listen to it right now called Jim City by Genius Black featuring a lot of amazing artists. We made it a lot of that music that summer of 2020. And I kind of felt like we was really hitting on the musical vibes. And there was just a lot of like, I don't know, spiritual vibes, people was protesting the world's energy was shifting in some ways. Yeah, I think we all witnessed that like it or love it or whatever, that's what was happening. And for me, the music started to really solidify, particularly some of those relationships, so that we can get like tiny foot started coming through. We started having these intense songwriting sessions. That's when we wrote like head down, for instance, Tiny Foot's one of the artists shout out that I work with a lot. And then in that same flurry of energy was when, you know, this was after the murder of George Floyd, when Rose Barbosa, who is the founder of the company, I was one of the initial founding co-directors with her, she had approached me and I mean, it's someone I knew for years. And she started to tell me about an idea like where all her skills came together. She's smart, marketing degree, all this stuff. And she said, Hey, man, I want to make this. I really think that I want to make the first or the only or whatever I just want to make. No, she's wanted to make a direct an online director with all the black owned businesses in the state of Maine. And that was her vision. She started telling me about it. And then I started getting with her working on that. And that's, well, you had told me about how with that, it wasn't always supposed to be about racial justice, but it was an interesting thing because you can't intertwine that. Yes. Well, that's a part of it. I would say that it was black owned Maine as a vision, by my understanding, based on what Rose brought to me and then what we started to build, I would say that it did have to do with racial justice and social justice from the beginning, but the focus was like economic justice. The focus was supporting businesses in particular, supporting commerce. Yes, black businesses, but to understand it by supporting, like you vote with your dollars. Right. And so even if you feel like, yeah, of course, there should be black businesses in Maine and we support that. But if you never spend any money at a black business, then are you actually supporting it? Or do you just like want to be supported, which are two different things? Oh, so yeah. Yeah, because I mean, that is very important because it's like, if you're not able to be participating in the economy, it's not a lot of justice in that, right? It all goes hand in hand, especially in a capitalist system. Exactly. It's like, if you were in a communist system, they might give everybody equally, but here, you know, there's all of these things that go into it. But I do know also that that kind of spurred into the newer podcast that you have now, Maine's Black Future podcast. Yes. Yeah, absolutely. And I mean, I think part of the question you asked me before, with Black Own Maine as a company, one of the things that we started to do one of the programs was the Black Own Maine podcast. The only last for so long, but that was part of what we would do to talk about the message, interview a lot of the business people. It was pretty great. And some people really loved it. In more recent years, I was sitting on the vision for a while for something called Maine's Black Future. Maine's Black Future, right? And Maine's Black Future is manifested as a podcast produced by myself and the Maine Monitor. And yes, the simple way to understand Maine's Black Future is that I start off every episode dipping into the past. Maine's Black History. There are some amazing figures that are Black that have been in Maine for hundreds of years. I highlight them one at a time and tell some of their story. A lot of them are intriguing. They're all engaging that I've found so far. And then what I do is I move forward to interviewing and conversing with a Black man who's currently influencing culture and life of Maine and therefore weaving the future. Maine's Black Future is about tying together Maine's Black past, its Black presence, present, and then leading into the Black future. Yeah, I know the first episode, right? Alphine. Is it Natalie? Alphine Natalie. Natalie. She's kind of holistic wellness coach. Was that pretty interesting? It was. I really, like, I always enjoyed speaking with Alphine because I've had multiple times to chat with her, sit, you know, see her talk about things she's passing about in the past. So I figured we'd have a good conversation. You know, I cheated. I picked someone who I knew could, you know, and we did. We had a great conversation. I learned more about Alphine TV, it's this show she's putting out. She's been filming stuff for quite some time. I learned more about her history, like this is some of the wars, the way she's been recognized, this grant she got in the past to tell her kind of fun, some of the stuff she's doing. So it was cool to, like, uncover some stuff from her and just, like, get to know her better. Like, I already knew some stuff about it, but that's what happens when you have conversation, right? Like, you learn a little bit more. So I have to crack open. But yeah, no, it was really cool. It was positive vibes. I look forward to her launching Alphine TV and the team to support her, for sure. And you had Junes. What was his last name again? Junes State. Yes. And he's a cinematographer. I've met him. He's a really cool guy as well. And then his third podcast's up and coming, right? Is that with Mr. Muhammad? So just real quick, I was going to say about Junes. He is a very talented, upcoming cinematographer, but he's also a fashion consultant. Fashion consultant. And the reason I bring that out is that one thing that me and Junes, like, we both have a lot of talents, he's really talented. Like, I call him Junes the genius. And then I'm genius, you know what I'm saying? But the thing about it is that we both agree that you shouldn't allow people in your life to somehow convince you that you're only able to execute one type of art. I remember that, yes. If you really are a vibrational manipulator, if you're really in there, and if you're willing to take time and pick up the learning curves, you can shine in multiple ways. And sometimes you've got to snatch that space because people will be like, well, you're a photographer. What do you, what do you mean fashion? But you look at Junes, he be fly. And he said, yeah, a penny of, he's not having to stay in his lane, quote unquote. He's doing multiple things. Yeah. Well, we'll get Junes on here sometime and we can talk to him a little bit as well. Yeah, that would be awesome. But I was going to say, you talked about Adela Muhammad. She is the founder of Third Place Maine. And I look forward to going to be sitting down with her soon and doing an interview. Adela, you know, is the founder and helps to lead Third Place Maine, which has a lot to do with there being comfortable and engaging networking places all throughout Maine and different sectors for black and brown people, byplot people in the state of Maine. And although Maine is generally speaking a friendly state, the fact remains that a lot of black and brown people still end up feeling or being alienated in a lot of rooms and places and events and things. And so sometimes about like kind of having your own space that's easier to exist in general, and then to also feel good stepping into some of those other spaces until things continue to mix up better. So, you know, that's my way of saying it. But I really love the work that Adela does. And I actually help lead, actually we meet up here at Portland Media Center, the by-plot media and communications group, myself and Luke, we lead that. So yeah, definitely making a difference for black and brown people in Maine. But I'm going to have, I look forward to having a great conversation with her and to bringing the conversation to y'all. And I made a mistake. I said, Mr. Muhammad, it's Mrs. Muhammad's Adela. Adela. Yes, Adela. So I know you said future guests you want some politicians on. We talked about that a little bit. More music artists. Yeah, yeah. You know, so I got a couple more episodes this season. I'm refraining from telling people exactly who will be what. But I think those cool things coming in. Yes, I am chatting with at least one really cool politician thinking about another person. We'll see. I just want, I mean, I'm being honest. I want to bring y'all people that you care to see, right? You know, what you're from. But I am also thinking a bit about season two and been chatting just a little bit with the main monitor about that because they support me in a bunch of ways to make this happen. And yeah, I mean, I've been very sorry one episode where I can get one to two musical performances in for some local black artists. Because I think getting to know them is one thing. Seeing them in their in their zone through their thing is like a different life. So yeah, I've been thinking about just how to bring value and to entertain my audience that's growing, you know, just keep them engaged and also just keep revealing to them that there's just so much brilliance here that some of us know and we're still discovering. I'll put it that way. Yeah, I'm important. It still has so much more to discover and there's just not enough great media outlets. It's great that you're doing that. And I know you wanted to give a shout out to a radio station that you work with. Is it WJZP? Absolutely. Shout out WJZP. There's multiple people. Dennis, Loida that I work with on a team over there and I'm trying to think there's a couple more people as well that I bumped into and that we've chatted. The thing about WJZP is that it is an FM terrestrial radio station, meaning that the waves actually go over the land, not meaning that it's not just like serious radio or you live on a computer, although you can and should stream it on a computer. You know, having a relationship with folks at an FM radio station that are out here in the community and trying to make a difference is cool because they enjoy this Black future and they are inclusive of me and I'm inclusive of them. The thing about WJZP, they play super dope, jazz, funk music. They spend a lot of time getting some modern shine on Black artists who in the 70s and 80s and 90s maybe didn't get the shine that they truly deserve. So shout out WJZP for doing that. And keep in mind it is also the only FM radio station in the state of Maine that is Black owned and one of very few in all of New England. So the thing about WJZP is that WJZP is an icon out here. It might not be the biggest radio station in the world, but when you hold a place that it does here. So yeah, I'm proud to be working with them, getting to know them more. And I've obviously figured out other ways that I can work with WJZP to make more impact. Well, I know you also work with the Amjambo newspaper. Is that the right pronunciation? Amjambo, yeah. I mean, so they printed articles about me a couple times, which I truly appreciate because it's great chatting with folks because I mean, I feel like I always have new conversations and they do a good job writing about my endeavors and you know, they have a lot of visitors on their website and a lot of people that check into them because they focus very heavily on the Black community, African community, immigrant community, a lot of people in Africa check out Amjambo Africa to like be connected. So, you know, when I get featured in something like Amjambo Africa, there's a lot of eyes on me and communities and you know, you can, there's different people that speak different languages that go there for new news and who might see me that wouldn't normally like that I wouldn't know how to like say, Hey, this is what I do. So I appreciate it. Oh, you know what I'm saying? And the other thing about it too that does kind of, I guess, touch me that hits, that strikes me is when I work with the folks at Amjambo Africa, you know, some other organizations too, but you know, that support a lot of the immigrants out here. Sometimes when I'm telling like the story of Pedro Tavuk in Paris, who was hiding in my second and my second episode of Main Black Future, I mean, he was illegally pirated across the ocean when they were no longer supposed to be transporting enslaved people across the ocean. But in a sense, you know, if they hadn't stolen him, I mean, he came from Africa. You know what I'm saying? So there's these stories of these different ways that human beings have come across the ocean from Africa to the United States over hundreds of years that I believe are worth dissecting, understanding and honoring. And I think in modern times, the nuances of what happened and why things are where they are still tend to get overlooked. So I believe in the anti-racial aspect of Main Black Future where it's like, let me tell you about the past. I'm also challenging you to rethink the now a little bit. And there's a million great stories, and they can find this podcast on Spotify, Apple Music, but also on the Main Monitor too. That's the main place we host it, and they support me to write it. The crew over there helps me edit, just gives me all kinds of ideas. And so I always send people there, you know what I mean? You can also go to themainmonitor.org slash podcast. You can then read about the podcast a little bit more than just hearing the episode. So it's a good way to... Yeah, they give you a big overview of it. Well, there's a couple more things I just wanted to, while we have you here, just talk about your photography a little bit too. That's another passion of yours. It's true. So I'm a Renaissance man. I feel okay just jumping out and saying that, you know. No shame you're here. Maybe later, I'll think about it. And I say that, no. But yeah, I am pretty serious about photography. And, you know, now I've only been at it for a couple years, two and a half years, two, I don't know, something like that. But, you know, I'd say in the last year or so, year and a half, I got real serious and just started studying more. I got some mentors. You know, Michael Wilson taught me a bunch of stuff. My dude Colin taught me some stuff. But my multiple people, Junets, definitely do this now. No, Junets, he really challenged me to start studying light and shadows a lot. So I've been supported. I'm also just a curious person. And when it comes to pro apps and creative endeavors, part of my talent, like how I got the nickname Genius when I was a kid, is that I'm able to absorb those things like real quick. So I've been like edit, you know. So yeah, I've been able to get hired to do some shoots. And if we can, right now, we'll take a look at a couple of those photos while we're finishing up the podcast. Yes. We'll be having those right over the shot right here. If they haven't been already, we may have maybe we've already put them up and you've already been watching them. But we're also going to see a couple of clips. But let's finish up by making sure that you tell the audience exactly where they can find you. Yes. Get some plugs out there. Thank you. Yeah, probably. Yeah. Appreciate you all for taking the time to check out this interview and just keep supporting us. I think one of the main places that you can follow my journey and keep up on some of the things happening in my life. My Instagram is called Real Genius Black, R-E-A-L-G-E-N-I-U-S-D-L-A-C-K. Real Genius Black. That's where, I mean, you can follow Main Black Future stuff, promote or just see who I'm interviewing. Also, you can learn more about Jim City, Maine, my music and art collective. You can see examples of my photography there. So that's the way to keep an eye. If you want to follow the music stuff, merch, intellectual property, creation shows, then you want to follow Jim City, Maine, G-E-M. I know whatever I say, Jim. People are like, Jim, no, like a gemstone. Or GM, right? Yeah, yeah, I know. I'm from Texas. I'm from Texas. Yeah, yeah, yeah, yeah, yeah, yeah, yeah. Gem City, G-E-M-C-I-T-Y-M-A-I-N-E. Jim City, Maine on Instagram. We'd love for y'all to follow there and subscribe or hit the little bell. And then I would just say, if you want to know more about Main Black Future, you can search it anywhere online, but check out the Main Monitor. They have a whole bunch of cool articles. I really see the Main Monitor and the State of Maine is just part of the truth saying power. They really be telling it and doing a lot of research. So I would say check them out in general. But of course, at mainmonitor.org slash podcast, you can check out Main's Black Future and learn more about Genius Black and the different people that I'm able to interview. Thank you so much, genius. Appreciate it. Appreciate it. Thanks a lot.