Recording with J Dilla in Detroit | Homemade

Summary

---

Podcast Summary: “Recording with J Dilla in Detroit”

Podcast: Shannon Cason’s Homemade
Host: Shannon Cason
Episode Date: February 13, 2026

---

Main Theme & Purpose

This episode of Shannon Cason’s Homemade is a deeply personal reflection on the Detroit music scene, Black cultural history, and, most impactfully, the host’s unique experiences recording with hip-hop legend J Dilla. Shannon Cason weaves his nostalgia for Detroit’s vibrant musical past into a tribute to J Dilla for “Dilla Month,” combining memoir, commentary, and a candid interview with his long-time rap partner, BJ. It’s a celebration of underground creativity, friendship, and the formative spaces that bred some of hip hop’s most innovative sounds.

---

Key Discussion Points & Insights

1. The Roots: Detroit, Family, and Early Musical Influences

• Shannon recalls his musical upbringing:

  • Father played Stevie Wonder’s Songs in the Key of Life on 8-track.
  • Uncle Nate’s record collection exposed him to Sam Cooke, Donald Byrd, and Marvin Gaye; mother loved Gladys Knight and Luther Vandross (02:00 – 03:06).
  • Early rap discoveries—Rapper’s Delight, Planet Rock, The Message, and especially The Fat Boys—lit his spark for hip-hop (03:13 – 03:50).

• Growing up with rap in Detroit:

  • Cason and his friend BJ began making press-and-play tapes and original beats in his grandmother’s basement, eventually collaborating with other neighborhood kids (04:10 – 04:56).
  • These tapes connected them with other aspiring artists across Detroit, leading to wide musical networking.

2. Connections & Collaborations with J Dilla

• Meeting JD (later J Dilla) through BJ (Bee) and being struck by JD’s innovative production methods—i.e., using a mic to his throat to create basslines (06:00 – 07:00).

• Memorable quote (Shannon, 06:51):

  “JD’s beats were so soulful…it was like the songs my uncle would play upstairs while I was downstairs on the twin bed trying to go to sleep.”

• Early performances in Detroit clubs—Hip Hop Shop, St. Andrews, and music venues where these future greats crossed paths (07:05 – 08:00).

• Dilla's breakthrough (work with A Tribe Called Quest), showing the potential in Detroit’s scene.

3. The Studio Story: Recording with Dilla and Proof

• Shannon describes being called by BJ to record demos for Electra Records, with Proof and J Dilla producing and encouraging—an unforgettable experience (08:30 – 09:30).
• Dilla’s positive reaction after Shannon’s recording:
  • “I remember walking out the booth and Dilla had his hand to his mouth like he was breathing in his hand…like he was impressed with my skills.” (09:21)
• Despite losing the tapes, Cason reflects on the honor of creating three tracks over Dilla beats in the studio.

4. Interview with BJ (Bee): Behind the Music & Detroit’s Making

• Why “Welcome to Detroit”?

  • BJ wanted to represent lyrical Detroit talent—an album that would have been burdened by major label demands, relishing the indie freedom to showcase local voices (09:49 – 10:27).

• BJ’s story of meeting Dilla:

  • Their relationship started through Detroit’s tape-trading culture; official introduction happened via Proof during a cold winter night in 1993 or 1994 (10:31 – 11:45).
  • This quickly led to collaboration and friendship, learning production with Dilla’s equipment.

• Notable quote (BJ, 11:45):

  “The next thing I know, within the next month, [Dilla] had me at his house teaching me how to work the damn SB12 and a Kai and all that. We got cool. Just like that. Just off a friendship, off of music.”

• Fun Anecdotes:

  • BJ left alone in Dilla’s basement with Questlove, digging through records—an impromptu, legendary hangout (12:24 – 13:23).

• Producer respect & sampling culture:

  • Dilla gifting BJ $500 when reusing a sample BJ had dug up:
    • “You got to dig in the crates and find it.”
    • Dilla spins the resulting beat at St. Andrews, immediately after handing over a surprise $500 (15:00 – 15:18).

• Memorable quote (BJ, 15:18):

  “He had to give me no 500 for a sample that he found that I did. Original. That was respect.”

5. Originality, Mutual Respect, and Recording Lost Songs

• The competitive-yet-supportive nature of Detroit’s hip hop:
  • Artists had to be original; sample-stealing was rampant but respect was paramount (15:55 – 16:32).
• Shannon and BJ reminisce about recording three tracks with Dilla—how some tracks got lost or never mixed, but standout ones (“Give a Little Time,” “Just the Way I Felt Inside”) were special efforts intended for Electra Records (16:49 – 17:41).

6. Making “Welcome to Detroit—BJ M. Part Two”

• BJ recounts being approached by Dilla to contribute after a chance casino encounter; the collaborative process was spontaneous, with verses often written on the spot at Dilla’s house, reflecting the urgency and creativity of that era (17:51 – 22:19).

• Songwriting process:

  • BJ’s second verse was replaced by Dilla who created a hook; BJ highlights the positive surprise and the thrill of discovery when hearing the final product (19:55 – 21:09).
  • Themes of authenticity in skill and hustle ("You crack the beats and go home, dog…No, I’mma write this right now.") (20:37).

• Industry context & transitions:

  • BJ discusses Dilla’s transition from JD to J Dilla, the complexity of music relationships, and the value of having a song named after him (22:00 – 22:34).

---

Notable Quotes & Memorable Moments

• On Music’s Legacy:

  “All the beautiful, noteworthy achievements…Think of all the inventions and innovations and excitement and culture that we bring to the world, including art and music.” (Shannon, 00:24–00:52)

• On originality and respect in hip-hop:

  “In hip hop, it was originality number one…people would take his samples. Like, he’d find a sample, somebody else would find it, use the same beat…So I get why he gave you the $500.” (Shannon, 15:55–16:32)

• On fate and love for the craft:

  “It feels like an honor that I got to record three songs over Dilla Beats with Dilla in the studio, you know.” (Shannon, 09:40)

• On spontaneous creativity:

  “It was like the spur of the moment type thing. Like, I ain’t leaving this crib without dropping something.” (BJ, 20:27)

• On respect for Detroit’s scene:

  “Much respect. Much love too, brother. You know we brothers.”
  (Shannon to BJ, 22:34)

---

Important Segments & Timestamps

• Dilla Month introduction / Black History and Musical Legacy: 00:21–01:40
• Shannon recounts music origins & first rap recordings: 02:00–05:00
• Meeting JD (Dilla) & beatmaking ingenuity: 06:00–07:10
• Detroit’s hip hop scene and performance circuit: 07:20–08:30
• Recording demos with Dilla and Proof: 08:30–09:40
• Interview with BJ—meeting Dilla and first collaborations: 10:31–11:51
• Questlove in Dilla’s basement—legendary moment: 12:24–13:23
• “Get This Money” sample story—bona fide hip hop respect: 13:52–15:18
• Music industry culture, originality, Detroit’s competitiveness: 15:55–16:55
• Recording with Dilla—“Give a Little Time” and others: 16:36–17:41
• Making “Welcome to Detroit—BJ M. Part Two,” process & meaning: 17:51–22:19

---

Tone & Language

The episode is raw and honest, blending nostalgia, pride, and humility. Cason and BJ speak in the respectful, familiar vernacular of Detroit hip hop—full of affection for each other, Dilla, and the city that shaped them.

---

Conclusion

“Recording with J Dilla in Detroit” is both a personal history lesson and an insider’s love letter to the Detroit hip hop scene and the enduring impact of J Dilla. Shannon Cason masterfully connects individual memory with collective legacy through stories that are humorous, poignant, and instructive. The episode invites listeners behind the scenes—into packed basements, hurried studios, and legendary clubs—where legends were made by digging in the crates, hustling beats, and forging lifelong bonds.

---

Transcript

[A]

He kept asking me over and over, where did you get this cyber phone, dog? I'm like, what do you tell me all the time? Because sometimes I used to ask him, where you got a cyber phone? He said, b, you gotta dig in the crates and find it. I did the exact same way. I said, look, you got to dig through the crates and find it.

[B]

Welcome to Homemade. I'm Shannon Cason. Every February, two important things happen is Black History Month, which is an opportunity to celebrate the lives and accomplishments of black American culture. All the beautiful, noteworthy achievements, despite all the challenges in America, we are a resilient and beautiful people. Think of all the inventions and innovations and excitement and culture that we bring to the world, including art and music. And music is the other thing that happens every February. It's hard to say February, ain't it? February? Dilla Month happens where we honor the music of the hip hop luminary J. Dilla. And I've always looked at it as a worldwide acknowledgement of the creativity that the Detroit of my era created because I was there. J. Dilla came from my childhood, in my young adulthood in Detroit, rapping at the hip hop Shop, St. Andrews, all these other clubs that we had throughout Detroit. That was my era. And this is my story about when I recorded three songs with the man J. Dilla. I hope you enjoy. I grew up around music. One of my earliest memories is my dad playing Stevie Wonder songs in the Key of Life on the eight track player in the living room. Also, my uncle Nate moved in our house when I was a kid. He lived upstairs and his record collection filled up the room from floor to ceiling. He'll play Sam Cooke and Donald Byrd and Marvin Gaye records while I fell asleep downstairs on my twin bed in my room. My mom would blast Gladys Knight, Patti LaBelle, Luther Vandross in her burgundy 4 while we drove around Detroit. And she also took me to concerts at the Fox Theater to see those same artists that she played all the time. I saw those people in concert. I loved music. When I first heard Rap, Rapper's Delight, Planet Rock, the Message. Then I heard the Fat Boys and I said to myself, I can do that. Mom and dad divorced by that time and we moved with my grandma in E course. And just like all the rest of my friends, all the other kids on the block, we all live with our grandparents. I made friends with all the kids down the street. There was Ryan, Ed, Tootley. Rest in peace to Tootley, Terrence, Brian and BJ More than all my other friends, me and Bj loved rap music and we played crate Ball in the alley listening to LL Cool J on one of our boomboxes. The first time we decided to make our our own rap song in my grandma's basement. We use one of those standard tape recorders and we let a tape play of Grover Washington Jr. On the boombox and we wrapped in the microphone on the tape player and then we listened back to it and we sounded just like LL Cool J. Not quite, but, you know, kinda. Then we started making press and play tapes with the dual cassette boom boxes and making our own beats and. And I was good, but BJ was really good. And after a while we had the whole neighborhood in the basement making Posse tracks like Posse rap songs. And everybody had a chance to grab the mic and say a few rhymes. But it was obvious that me and BJ were the best at it. And it continued on and on. Bees moved from E Course to Southfield and we kept in touch through the music. And also because Bees moved, our network expanded and grew. And we found out there were kids all over Detroit that were doing the same thing. They were making beats in the basement and they were writing rhymes and making demo tapes. And we would all make these demo tapes that it would fill up side A and B of the Denon or Maxell cassette tapes. And these tapes started circulating around Detroit and everyone would get a feel for what other crews in Detroit were doing and creating. Our crew was 31 flavors. And some of those tapes were beats by a guy named jd. I met JD through Beach. Beej and him had a kinship through beat making. And I had access to a car. So me and Bees drove to his house in Konig Gardens neighborhood in Detroit. And we went in the back door of this small house and went downstairs and there were records and steel support bars that hold the house together and record players. And I remember a built in bar in my memory. And then there was jd and he was a little guy to me, you know, I'm a pretty big dude. So he was excited to play music for us and, and BJ played music as well. And they played music beats back and forth. JD's beats were so soulful. It was like those songs that my uncle would play upstairs while I was downstairs on the twin bed trying to go to sleep. It was comfortable, familiar beats. And I remember I asked jd, like how you get the beat, like the bass on the beat, to stand out so much from the other part of the beat. And he put a mic to his neck and he hummed some sounds through his throat with the mic to his neck. Then he pushed a button on the sampler. Then he pressed the keys to fine tune the sound and make bass lines with the humming sounds from his neck. And I was amazed at that innovation. And I left. And the next time I saw JD we were doing shows around Detroit. We performed on the same stages. And then I heard he got a deal to make music with one of my favorite groups, one of my favorite hip hop groups of all time, A Tribe Called Quest. And I was wild. But honestly, I knew that he was gifted enough to do that. And life in music went on. And I was in college at Michigan State University and BE was still making music back in Detroit. So so many other artists that had came up and entered the scene and, and grew from the scene, people would become international names, huge businesses, and powerful executives from those times that we were hanging out at the Hip Hop Shop, Michigan State University, and all the other places, St. Andrew. And we were just creating, sharing our craft. Then I got a call from Bees one day and. And he said that he needed me to be on this demo that he was creating for Electra Records. It's happening. Shannon is happening. So I drove from Lansing to Detroit and we went straight in the studio. And when I walked in, I saw Proof. I was familiar with him from Detroit, Hip hop, the Hip Hop Shop and everything else. And there was J.D. who, who had changed his name to J. Dilla. And Bees was working on this demo with J. Dilla and Proof, and they was going to shop it to Electra Records and Bees wanted me to be on three songs. So we went in the booth and we recorded. And I remember walking out the booth and Dilla had his hand to his mouth like he was breathing in his hand. And like he was impressed with my skills. And I asked if he can give me a rough mix down of the songs that we had created in the instrumentals. And JD Did, J. Dilla did. And the next day we. We did a live version of the song at Eastern Michigan University, opening it up for Bizarre. Who, who's a part of D12. And I thought that the beat by J. Dilla was just so easy to rap to like other MCs that know what I'm talking about. It's like certain beats that are very simple to write or to rap to. And it was one of those beats. And since then, most of you know the story of jd J Dilla, he made incredible music for. For many artists, including his own group, Slump Village, until his untimely death in 2000. 8. And I had those tapes. I had those three songs that we did record, but I lost them through multiple moves and. And probably borrowing them and loaning them to people. And they got lost in the mix of life. But it feels like an honor that I got to record three songs over Dilla Beats with Dilla in the studio, you know. But Bee's recorded many more songs over the years. And here's a short conversation with my rap partner, beach.

[A]

Okay?

[C]

With a title. Welcome to Detroit. Welcome you to Detroit. The realness, too. So wanted to put people on there who, you know, who's gonna spit, you know, I mean, lyrically and represent Detroit. Because I wouldn't have been able to pull this album off if it came out under a major, you know, because they're not gonna let you just do a song and you can't just do an instrumental. And you gotta have this feature and you gotta have, you know, ujd. Why don't you got Erykah Badu? Why don't you got so and so on your album? You know, I would have to go through all of that instead of just putting out, you know, beads on this joint.

[B]

When did you meet Dilla going to that story?

[A]

I met Dylan. I knew who he was and he.

[B]

Knew who I was.

[A]

Just from street, just from tape around. Like, we had a little taste that, you know, everybody here and dub and like that. But he heard of me, and I heard him want to ready for, like a whole year, I already know who he was. But then it was like in the middle of the winter, going into 1994, it had to be like, December. And we was at either club 1315 downtown or either another club. But I was driving. And then I saw Proof and Dillard inside. You know, that's J.D. it was inside the damn club. And then when Proof saw me, he was like, no, you about to meet that right now. I said, bet. And then he took him to my car, and then he said, play some BJ and my proof, you know what I'm saying? Told me to play some, play three songs. And then that Dilla was in the backseat going crazy. He said, I already knew who you was through the hood, but we never met each other. He said, here go my phone number. We gotta hook up. No. And that was. The rest was history. The next thing I know, within the next month, lady had me at his house teaching me how to work the damn SB12 and a Kai and all that. We got cool. Just like that. Just off a friendship, off of music. Yeah, we just Amazon Ever since. That's how the pool.

[B]

Yeah, yeah, yeah. Proof. Shout out to proof. And rest in peace. To proof. Definitely a Detroit legend in the music. Any interesting stories, like recording, like, early recording stuff? Because I remember you taking me to. To his house as well, and me and you just kind of hanging out over there. But any interesting stories? Okay.

[A]

The only interesting story that I really can say during the time when me and you would. After I introduced you to him, then we went to a. Went to the studio. We did that song, give a little Time. I remember when we did that up there. You know what I'm saying?

[B]

Yeah, yeah.

[A]

Studio A. It was maybe like three weeks later. They told me to come to his crib. He said, dog, you can make beats for a few hours if you want to, but he said, you going to meet a special guest over there in my crib. Gonna be down there with you. I said, who? He said, wait till you get over here. And then right before I walked in this Quest Love in the basement from the roof. And that was dope.

[B]

That's dope.

[A]

And then it left. Dylan left. Literally left for like an hour and a half at his mama, leaving me and Quest Love in the basement. And we was just going through records. And then Quest met me that day and he was like, yeah, man, I heard a lot about you. Blah, blah. That was a real experience for me to get. Left in his basement with Quest Love for an hour. Then Dirty came back and we were just viral, man. Quest World wasn't doing nothing but just going through his record collection, playing records, bro. That was it. That was an interesting moment at that time, though, because he introduced me to a star, I think.

[B]

I think he had a lot of respect for you. Ain't no doubt about that, you know? Yeah, yeah. Even naming two songs after you and.

[A]

His relationship, that was enough within that. So that was. That was enough within itself. You know, I give him props on that too, because he ain't have to do that.

[B]

No, it was just respect. I think it was a respect for. For your craft as well, you know? Was it a story with the. With the get this money sample?

[A]

To get this money sample? Yeah. What it is, is that's. I'm gonna be honest with you. That came from the song that me and you did. Me and you saying when we went to the studio, give a little time. When we did that at that studio.

[B]

Yeah.

[A]

He kept asking me over and over, where did you get this cyber phone, dog? Like, what do you tell me all the time? Because sometime I used to Ask him where he got a cyber phone. He said, b, you got to dig in the crates and find it. I did the exact same way. I said, look, you going have to dig through the crates and find it. And then. You know what? It was funny because we went to St. Andrew. It was just on the Friday night how Shoes were spending. I had to take Shoes down there with his records, whatever. And I saw JD that night, you know what I'm saying? He was. And I said, what up, dog? And I walked up to him, gave him five halfway hugs, all that, and he put like 500 in my hand. I'm like, what the is this about? This is what I said. I said, what's this about? He said, you about to hear in about 10 minutes. And then I'm sitting there on the dance flow, you know what I'm saying, in St. Andrews, and then get this money. Song dropped. And I walked up to the. I said, that's why you gave me the 500 because you found the sample? He was like, hell, yeah, that's why I gave it to you. And that was good. Off of respect, because he had to give me no 500 for a sample that he found that I did. Original.

[B]

What was that? What was. What was the sample?

[A]

It was Herbie Hancock from the Sunlight album. That song ain't called Sunlight, so all of the listeners want to find it, but it's from the Sunlight album.

[B]

Ah, I like that. You still got that producer mindset.

[A]

It's seven songs on that.

[B]

I know, I know. It's so. I know which song it is, but I'm just saying that's what's up. That's what's up.

[A]

Because of the parts on that song. That's why it was funny when. When Jay Diller did it and he played it live in my face at San Andrew. Said it don't sound nothing like the way I did mine.

[B]

Yeah, no, but see, that was. That was a respect thing too, because at that time in hip hop, it was originality number one. You had to. And if you even take somebody's stuff, because he had that a lot, people would take his samples. Like, he'll had a sample, find a sample, somebody else will find the sample, use the same sample, or use the same beat of his, you know what I'm saying? A lot of was stealing. So I get it. I get. I get why he gave you the 500 because he got the. The. The original inspiration is from our song, you know? You get what I'm saying?

[A]

Yeah, that was good. That was Some like real hip hop to me.

[B]

What about me and you recording. Recording some songs with him. Because I, I. In my memory, I feel like we did about three songs. No, you may have did more, I'm.

[A]

Saying, but we did three at that same studio. When he took us to that studio, we dropped two songs a night. And I forgot whatever the other song was because, you know, that's what he was dealing with. Them down pay that. You know what I'm saying? Yeah, some of them ate ass dog, you know what I'm saying? Never got mixed down back then. Because he had a lot of loose songs back then. You see what I'm saying? And so the. Some of the stuff that we recorded up there, we did do like two or three at the same studio. But he was gravitating towards just the way I fell aside and Give a Little Time. That was the two songs that he was gravitating towards that he was trying to shop for us to do at Electric Records. After he heard you, he was like, okay, your boy E got to be on half of the album. We shopping this shit to Electra. And that's how that shit went down. Never gonna forget it, bro.

[B]

Break down the welcome to Detroit song. Tell me the story about that welcome to Detroit. BJ M. Part two.

[A]

Okay, Vision and part two. Went to Detroit. Oh, wow. I was working at Greek Town Casino. Greek Town Casino. I was working there. I was a bar back, you know what I'm saying? Again, while I'm up in there, I see Big Tone at the casino. While I'm working, like, man, J.D. looking for you. He about to do a new album. I said, well, give me his number. I was at Greek Parents Casino and Big Time, you know what I'm saying? My boy who's out cold, right? You know what I'm saying?

[B]

No doubt.

[A]

I called you up. Yeah. And I gave. You know. When he gave me his number, I called JD the next day. He was like, yeah, man, I need you to just come through. I'm doing this solo now. Just talk about it. You know what I'm saying? When I see you. I said back. And then he told me everything that was going on with him. Scrum Village. He solo now. He done left everything. And he said, all I need you to do is do one full song on this album, Payback. But he didn't even have to be together. I went to his house. He played like four beats. I said, well, this was the one that I want to rap on taking. When he got to that fourth beat, it don't even sound the same way on the album because he had to chop it up differently for that something. But that's how that happened. I did a whole full song. It was like three minutes long. But JD didn't drop his verse. So what JD did, he liked the song so much. He said, but now I got to be on the song. So what I'm going to do is I was gonna take your, you know, I'm saying your second verse off. Because we didn't have a hook. All we had is two verses. Like, I dropped two verses with a hook. That's how that process went down. Yeah. He called me three months later. I said, the song done. I took your second verse off, and then I got a hook. I said, bet I'm flying. Whatever you want to do. And that's how that song came out like that. I didn't even hear the finished product until three months later. He already had paid me to do my part, though.

[B]

Yeah, yeah, yeah.

[A]

The song came out like that. I did a whole song over his beat, and then he basically took my second verse off and he created the hook because we didn't have a chord. Just like we did everything in one minute. Because the way I came up in his crib, we didn't know what he was doing. And I had to sit there, and it took me about an hour. I ain't gonna sit up in a lot. About an hour, 15 minutes to write the whole song. But I just did it right there on the spot. That's how this. It was. It was like. Like the spur of the moment type thing. Like, I ain't leaving this crib without dropping something. You know what I'm saying?

[B]

No, I get.

[A]

You could have just get. He could have gave me the beat and I could have took it home and then came back the next day. You see what I'm saying?

[B]

But you just dropped it right there.

[A]

Yeah, and he. And he. He respected that. He like, oh, so you really about to wait? He said, you crack the beats and go home, dog, and then come back tomorrow, my studio. Like, I'm about to wipe this right now. Right now. About the writ it. No, whatever you like, keep whatever you don't like. You know, I'm don't keep. It was more or less like that. And he liked what the price he liked. And then he dropped his second verse and took my other verse out, which I'm glad he did, man. You know what I'm saying?

[B]

Classic song. Classic song, man. Classic song.

[A]

I'm glad he did that. Hook like that too, because I didn't have a chorus. It's like I'm writing a whole song in his face. But I don't know what to say on the course right now because I'm just like, in all that, I'm on your album, you know what I'm saying? I'm like, let me just write some verses and see what he come up with. Little lines while you screaming, hot wobbly, wobbly. I'm screaming yes by a lyrical slug or throw a thug chest. The only reason why I wrote that part because he was telling me about some fake ass industry people that was trying to do something, you know what I'm saying? Like behind the scenes type. So then that kind of prompted the wine to say, little silly, you know what I'm saying? Because, you know, I understood what he was talking about. It was. It was a good night. When I recorded that, it was chill for like four hours. That was a four hour process just to do that song. But it wasn't like a process where you just sitting there doing a song.

[B]

Yeah, no, you talking. You're doing other stuff.

[A]

Multitasking. We was multitasking right there at that moment. I didn't even know he was fellow. When I went to his crib, he told me anything that happened, I said, okay, that's why you fellow. Now you know, I had to ask questions like, why you ain't J.D.

[B]

No more?

[A]

Tell me you're all that. Why he had to change his name to Jay Dillard. That was a deep night. Well, you know what I'm saying. I'm glad he titles the name Bees in the part two because he told me a lot of that night, you know what I'm saying? Oh, he's. Yeah.

[B]

Much respect. Much respect, man. All right. Much love too, brother. You know we brothers.

[A]

Yeah, always.

[B]

Thanks for listening. Shadow Kazen's Homemade is proud to be supported by the friends of Homemade. I want to thank everyone who listens, enjoys and supports the stories to my friends. Jovel, thank you for the Cash app. Your photography fills my office right now and I'm moving to a new office and let's go fill that office too, too. So thanks for the photography and thanks for the coffee. My friend, Preston F. Thanks for the Cash app. Long time listener. I hope you're doing good. Glad the interview with my mom touched you. That's what it was for. And thanks to Yaya for the special messages. My mom loved it. Homemade is a friend funded podcast. Visit Patreon Backslash Shannon Casein. That's patreon.com backslash Shannon Casein or $sign channation on cash app if you want to go to Direct Route. I switched up the music for this episode. I usually have Echo Finch but shout out to J. Dilla. I know he appreciates J Dilla too. Shout out to J. Dilla for the music. I hope I don't get a strike or anything like that. BE is actually doing an event out here in Detroit on Saturday, February 28th at the Lincoln Factory in Detroit. Come out. I'm gonna go out for that for sure. You'll see me there. And I have a few shows that's coming up too. I'm doing Twisted Storytellers in Detroit on February 20th in Southfield and I'm hosting the Moth in Detroit on March 5th. So come out, say what's up to me. I'll be right back with more and more stories. Talk to you soon.

[A]

Now that's homemade.