AIMM Clinics | Brian Frasier-Moore Interview
AIMM had the pleasure of sitting down and interviewing Brian Frasier-Moore. He has 26 years of touring experience and is currently touring with Justin Timberlake.
Brian discusses AIMM, his first show, checking your ego at the door, why versatility is important, and much more!
Watch the video below, or you can read the entire transcript from the interview.
Brian Frasier-Moore Interview Transcription
Brian Frasier-Moore: 00:01 First of all. How is this school? All you guys go to this school. Right? You attend this school? How are you liking it? You like it? What you like about it? Nice.
Steven Maben: 00:14 That's one of my students right there.
Brian Frasier-Moore: 00:17 Look at you. I love it man. Mentally, too? That's important, too, I'm learning. Nice, who else? What do you like about your school? Anybody? Yes sir. Networking. That's important. You look like you good with people.
Steven Maben: 00:34 He's of the people.
Brian Frasier-Moore: 00:39 No, this is good. The reason I ask is because walking around here and seeing what you guys have access to is amazing. I can see myself, I'd be in here all night. They'd have to kick me out. Just the networking opportunities you talked about, being able to come in and create and work on your art, encouraging confidence and all that stuff is super important. So, that's why I asked you. But it seems like a great school here, so I'm really excited to be here.
Brian Frasier-Moore: 01:07 So I'll just tell you a little about myself. I'm from Philadelphia, Pennsylvania. Born and raised. I used to wear Boyz 2 Men outfits, the little short ones. I can't believe I'm saying that. Born in Philadelphia, raised, went to church, grew up in church. That's where my roots was, five year old little kid, "I don't feel like playing the drums," you know, and this is what it was. And my mother invested in me, because I used to beat on encyclopedias and she wasn't too happy about that. So she bought me a drum set, and that's what kicked it off.
Brian Frasier-Moore: 01:46 Have you guys ran into that initial love where you're like "This is what I wanna do? This is my passion, I'll do it for free if it's the right situation, I don't care?" I'm not by myself, right? All right, cool. So this is what happened. I fell in love. If you had to guess, this is interesting, I want to see if you guess, if you had to guess what my first concert was, what would you say? I'm sorry? Outside of church. I'm sorry? That was a good guess. Almost, though. It was Amy Grant. Have you guys heard of Amy Grant? That was my first concert.
Brian Frasier-Moore: 02:31 So let me tell you about this. My mom takes me to this concert and all before that I'd just been playing in church. So we go to this concert, it's my first time in an arena, and I'm like "Man, this is a big place." I'm a little kid. And then the curtain opens, and there it was. I said "That's what I want to do. I want to do that right there. That drummer right in the middle." So what I'm coming to talk to you guys about today is the other side of that passion. The work part, the business part. The what you have to do part to even be considered.
Brian Frasier-Moore: 03:10 This is my 26th year of touring, everyone knows me, there's no arrogance in any bone in my body at all. That's the way my mother brought me up. I'm not arrogant, I'm very thankful for everything God has given me. But, I have been touring for 26 years, thanks to God. I've been able to provide a living for my family, I have children, two of my children went to college, my wife, everything. So I'm here to talk about this side of it and what you guys can do to stay encouraged while you're going through it. Does anybody have any questions about this kind of topic?
Steven Maben: 03:46 I do have a couple of questions.
Brian Frasier-Moore: 03:47 Absolutely.
Steven Maben: 03:48 So, before we get into like the business part of it. Again, who's taken a class with me at all? Raise your hand. Anybody been in a class with me at all? Okay, wonderful. So, I teach performance classes as well. So in class when I teach, we talk a lot about how to interpret the music for the live stage. There's not a lot of information about that out there, just to be honest, and I would be remissed if I didn't ask you about your approach when you get to a live stage. So when you receive a piece of music, say you get a studio track, some style that's ... maybe heavily electronic or is programmed, maybe, with those drum sounds. How do you translate that from the studio, from that recording, to the live stage? What's your process on that?
Brian Frasier-Moore: 04:36 That's a good question. So, I will get music, lets just say Madonna. I've toured with Madonna before, and her music is kind of like electronic, dance. She likes to do this all the time. So, I will get this music. Most of the time I'm not familiar with her. If you say Jay-Z, I'm like "oh yeah I know that song." But this is a challenge because I'm not really familiar. So, first and foremost, I have to facilitate my gear. I can't do nothing, I can't learn the songs, I can't even get into muscle memory of what the songs are until I know that I can take those sounds and maybe put that on my kick drum with the sound. Lemme try that, nah, that's too much. The acoustic kick is too much.
Brian Frasier-Moore: 05:24 Maybe just electronic on the kick, acoustic snare trigger, maybe electronic hi hats, let me see. Do these hi hats sound like it? No. These ones? So this whole process goes through for the entire song. And then once I facilitate that, then I get into the muscle memory of playing what the beat is. So becoming what the beat is. How many of you guys have heard Before I Let Go? Right? What's the drum beat?
Brian Frasier-Moore: 06:07 Right. So what I do is, and the hi hats and snares sounds amazing but the kick pattern. So what I do is I become ... I brainwash myself. I become what that is. That kick drum is here, this snare's there, this is there, this is there, this is there. Now I eat that and it becomes me. So then, once I get that, then I find ways to express on top of it. In that mentality, but not mine.
Steven Maben: 06:34 Let's go a touch deeper. I just wanna go just one more level deeper.
Brian Frasier-Moore: 06:38 Yes sir.
Steven Maben: 06:38 Not too much. So when we ... that's very valuable, I hope everybody heard that. Now when we're talking about making the music work on the stage with the band, as far as like feel choice, as far as like any type of ornamentation anything outside of the groove, how do you pick those things? Because I know you have a really interesting process on that as well.
Brian Frasier-Moore: 07:01 So I call them the extras. The intelligent extras. So, everything in the track is a suspect for me. I'm like a bank robber. I'm like "If there's money over there I'm going to get it. If there's money over there in that corner I'm gonna get it." So anything in the track is subject to be hopped on for me. Anything moving in the track. You know why? Because it keeps me safe when people say "You're playing too much." If I attach myself to what's in the track, a vocal, an arp line, a bass line, a baby crying, some dishes falling, I don't care. It doesn't matter what it is, I'm still in the safety zone of being able to intelligently add extras. So that's my process.
Steven Maben: 07:52 Okay, cool. I do definitely want to dive all the way in.
Brian Frasier-Moore: 07:57 Oh thank you.
Steven Maben: 07:57 Thank you, so much. I do definitely want to dive all the way into, though, the other stuff. The stuff that's away from the performance.
Brian Frasier-Moore: 08:08 Yes sir.
Steven Maben: 08:09 So, the burning question that I get in class is always "How do I get the big gig?" It's always, "How do I achieve the large stage? How do I become that studio drummer?" If you could give us a few tips, like a few things to really pay attention to, whether it be playing, whether it be anything else. Go for it.
Brian Frasier-Moore: 08:33 Absolutely. So, contrary to popular belief, it's not just because a person can play good. I know a lot of musicians practice in their basement and sometimes brainwash, for lack of a better word, themselves to say "Well if I practice really, really hard, then I'll get on that stage." It's not necessarily true. So, your gear. Let's talk about your gear for a second.
Brian Frasier-Moore: 09:01 So, people want to come on and do tours. So you have two types of tours. You have a tour that will say "We're hiring you, sir, and we're going to pay you," I'm just going to put this number out there. "We're going to pay you $7000 a week, okay?" Bam. And you have to facilitate everything else. You have to get your drum set into the right cases so they can go onto this semi truck was steel bars, which means probably not the hard plastic cases, because you'll be sad when the drums press. Touring cases. If they want electronics.
Brian Frasier-Moore: 09:40 Then you get to electronics, and your sound man says "Hey can you separate those sounds so that we can have control?" Because if the artist asks for more kick drum and your snare drum is on that line, he's going to get both of them. So gear is a huge part. I'm going through a situation right now where I have one drummer, who has gear, he has the demeanor, he has the knowledge on how to approach the songs, his retention is amazing, he's a great guy, he's never late, that's a big ... never late. Never late.
Brian Frasier-Moore: 10:21 So all of these things come into place. So I look at him like he's the golden child. This is the golden egg. And so then I have another guy who just really plays good. He's just really a great phenomenal player. And it's like ... but he's a great player. But his gear. But he's a great player, but he knows he's a great player and his ego is ... so, these things, in these situations, you have to be around these people. The show might be two hours on a show day, there's another 22 hours left in the day that you have to exist with these people.
Brian Frasier-Moore: 11:00 So, that speaks on the other side of things, of your demeanor, and being a team player. And being able to take constructive criticism.
Steven Maben: 11:13 Oh please go deeper into that one.
Brian Frasier-Moore: 11:14 What?
Steven Maben: 11:14 Please go deeper into that one.
Brian Frasier-Moore: 11:15 Okay, I'll use myself as an example. I'm an open book, it's okay. So, there has been times when I've worked with the artist and I've done something, and in my mind, you know how you do something and in your mind you're like "Yeah, I just killed it." You know? You know. So, I was like "Yeah, what you got to say about that?" And she came back and she was like "Listen, on that part, can you just play what the beat is?" And my whole insides just crashed. My internet crashed, everything melted. And I felt all of these ways and I'm like ... I lost focus.
Brian Frasier-Moore: 11:56 I am a team player. I am hired to play the drums. Brian, you the drummer? You're the drummer. Right? Just play the drums. And I'm comfortable with that. So, here's another level. The things that will help you with that is to create something on your own. I don't have to feel like I'm so offended with these gigs because I have my own business and I do my own things over here. So that whole energy as a man and a person, I don't even really have to deal with it, man. You don't like that beat? I got 17 more I could try out if you want. Just tell me which one you like, it's cool. And at the end of the day I'm going to get the call again. And at the end of the day they're going to trust me, and word's going to get around, "He's easy to work with."
Brian Frasier-Moore: 12:34 And words going to get around "Oh he facilitates and he does this ..." so, getting the big gigs, in my opinion, it's like a whole gumble of things, it's not just sitting in your basement practicing, and a good person, right?
Steven Maben: 12:46 Yeah. Oh there was so much in that. I want to expound but we don't have a whole lot of time. So, let's just go a little deeper, because a lot of times you see a lot of things on the internet and it might be your favorite drummer and they're talking about things that are on a level that I might not be on. You see what I'm saying? So if we're talking about playing with Justin Timberlake, I can understand that. But what about for the musician that's really trying to break into maybe the club scene in their city? Maybe a student that's trying to get consistent gigs in their city. They're trying to build some type of a reputation for themselves right where they are. What would you say?
Brian Frasier-Moore: 13:30 You know what's the crazy thing? Nothing changed from what I just said. Nothing changes. I don't care if it's my dad's church and it's Sunday, I'm going to be up there equipped and ready to go like if it's Janet Jackson. It doesn't matter. After a while, it just becomes a part of you, and that's how the people get the benefit, because it's you. You're the product. I'm making my product undeniable. People say, "Man I've tried all my life. I've been trying all my life." Within the things that you're willing to try, you know what I mean? I can respect that, I understand that, but try all your life breaking down your own walls. Like really telling yourself what you need to practice.
Brian Frasier-Moore: 14:23 Really telling yourself that "I need to brush up on my electronics." Really telling yourself that "I need to brush up on reading those charts." Really telling yourself that "I'm not super good like that, but I'm blessed. God blessed me with something," you know? So, let me make him proud, you know what I mean? Look, you blessed me with this? What is it all our bible believing people? How many talents? [inaudible 00:14:53] I talk kind of like street on the bible. [inaudible 00:14:58] one talent, right?
Brian Frasier-Moore: 14:58 And the boy, he going to bury it, what you doing? You get what I'm saying. So yeah, I'm just saying, it's the same thing. If you want to take over your city, for me, when I was growing up in Philly, I wanted to take over my city. I wanted to take over my whole city, meaning, in a literal sense, I wanted everybody to know my name. Clubs, studios, church, [inaudible 00:15:27] which caused me to do a lot of stuff for free. A lot. Probably like 90%. A lot, but I was just on that journey.
Brian Frasier-Moore: 15:38 So, sometimes you agree that you have to prove yourself a little bit first? Some people look at that like it's a negative thing. I look at it as mandatory. It's a part of the game. You could take it in, apply to a lawyer. From a lawyer doing pro-bono cases and now all of a sudden he's like Cochran status. No matter what you do. A nurse, a trash man, a doctor, no matter. So, I think for me, the biggest thing, is really mentally telling myself what the plan is and just doing what I need to do, honestly. That's for me.
Steven Maben: 16:15 Okay, he's dropping a lot of jewels, right now. Would anybody agree? There's a lot of really good stuff coming out right now.
Brian Frasier-Moore: 16:21 I hope so.
Steven Maben: 16:21 But I have another question. I have all kinds of questions, trust me.
Brian Frasier-Moore: 16:25 I'm afraid.
Steven Maben: 16:27 So, you've been quoted by one of your friends as being a chameleon of sorts, musically. By your friend Adam Blackstone. You've been called a chameleon, and versatility seems to be ... when I think Brian Frasier-Moore, I think versatility. When I look at the resume, and it's long. Versatility is what I see. So how important has that been to you in your career and what did you do to build said versatility?
Brian Frasier-Moore: 16:59 We all human, yo. That was the first thing on my list. We all human. So, versatility, man, I would not be able to pay my bills. You want to get real? I would not be able ... my wife loves Louis Vuitton bags, okay? This is her thing. And I love her, so guess what, I better get versatile. Versatility means that you can be over here or that person can call you for that or reading charts, the ultimate versatility. So, I work a lot with Rickey Minor as well at home, and his gig, I'll just tell you a super quick story. I tell you a super duper quick story, okay, but this is ... I get chills every time.
Brian Frasier-Moore: 17:38 This was maybe like six or seven years ago, and Teddy Campbell, they were doing American Idol. So I lived in LA, and Rickey said "Hey man, Teddy's sick, so I want you to come in for the week and do American Idol." This is when I found out they do recordings during the week, they rehearse, they have a full week. They don't just pop up at the show and play the show. So I said "Yeah, I can do it," right? I said "Yeah I can do it." Yeah, when your voice get high. "Yeah."
Brian Frasier-Moore: 18:10 So, 32 charts, right? And I hadn't read charts in a while, man. I really hadn't. You know how people say "Do you read?" And they be like "Yeah," and it's like ...
Steven Maben: 18:20 Probably, maybe.
Brian Frasier-Moore: 18:21 I don't necessarily believe it, you can tell me if you can't. So, I did the "Yeah," I did the high one. "Yeah, I can read." He said "All right, cool man, we're going to be at Capitol Records, the A room." And I said "That's the one Quincy Jones used to use. Don't trip, Brian, stay focused." So he sent me the charts, I'm going over the charts, me and my wife, she's a music teacher, she's helping me out, I'm so nervous, my underarm's sweating, I'm trying to get back in it. These guys read charts like it's the Sunday paper. They read it like ... the Eagles beat the Bears, just like that. That's just what it is. And so I walked into ... this is funny.
Brian Frasier-Moore: 18:59 So I walked into the room, I was an hour early. Rickey Minor was sitting in the chair all ready. I said "What are you doing here? It's an hour early, why are you here?" So I walk in, set up my stuff, blah, 30 piece band. Strings, horns, [inaudible 00:19:18] Paul Jackson, I mean the cream of the crop top musicians. No pressure. So, I sit down, and I finally get my kit ready. Five minutes before downbeat, if you ever work with Rickey Minor, you know if he said 10, 9:59 he say "Okay fellas," he's on it. So, here we go.
Brian Frasier-Moore: 19:38 So I sit down, and he says "All right, send it." I said "Send it?" I'm looking around like send what? What does that mean? Next thing I heard, "One, two, three," I said "Hold, wait. So send it means ..." he said "Yeah man, it's just paper. You just read it down." Versatility. The ESPY awards, 82 pieces of music, because the bumpers in and the bumpers out. So, now here's another description. So, you have a piece of music that goes from bar one to bar 30, it's not a complete song, you know what I'm saying? So he'll say, "All right, we're coming back in from commercial break, we don't have enough time to do bar one to 30, start at 13."
Steven Maben: 20:33 Jesus help me.
Brian Frasier-Moore: 20:36 What is 13? 13 could be the pick up to the pick up to the verse. 13 could be bar 70, you hear? So I'm just saying that to say yes, versatility on that will just open up your opportunities and more opportunities for people to look at you like you want them to look at you. Like you're complete. You know? Being able to play theme shows with Adam, TV Land awards where you have to play like Good Times or you have to play Maude or you have to play all of these other shows and it's just like, I listen to Good Times but I never really ... I think I was singing more than I was listening to Good Times.
Brian Frasier-Moore: 21:12 But then to become that to make your drums become that, to make that. So, versatility working with Adam, working with Rickey Minor is prob more important than your ability to play or kill the drums.
Steven Maben: 21:28 Again, there's so much in there. Just real quick though, real quick, because the questions popped in my head. For when you're picking your drum sounds, like maybe for the TV Land awards, when you're picking like those vintage sounds or some sound that maybe isn't something that's easy to get to, easily accessible, like some of those snare drum sounds may not have been a snare drum. So when you pick those sounds, what's your process? Are you just going based off of what you hear there or do you kind of go back and do a little bit of a history study, try to find out what they used?
Brian Frasier-Moore: 22:03 The second. So, I'll do a history. If I'm going to find that snare sound, I'm going to go through my bank, I'm going to find the closest thing, I might throw it in [inaudible 00:22:11], tweak it a little bit, export it out, see if it happens. I'll do three or four different versions. So, I know working with Adam he'll say "Eh," and he'll say "You got another one?" I already know he going to say that. So I'll do that for each individual song.
Brian Frasier-Moore: 22:28 On tour, it's different, I just go to Pro Tools guys and grab the stems from the record. But the television shows, it's probably more difficult because there are no designated stems that you can grab. So you kinda have to make your research and tweaking thing. I'm a maniac, y'all. It has to be done. My tech, if he was here, he'd be in the back like "Yeah." It has to be done. There's a way it can be done, and it has to be done, that's just it.
Steven Maben: 22:59 I think anyone, who's seen Brian's set up, anywhere on the internet? Would you agree that it looks like a crazy monstrosity? It does, it looks like the Star ship Enterprise, bro.
Brian Frasier-Moore: 23:11 I'm offended.
Steven Maben: 23:13 Okay, again, real quick, if you look at the set up, on the left, there's this big block. Most people would use a Roland SPDS. Not Brian. Brian's drum bougie, I like to say. You got the cat up there? How many separate pads are on that itself?
Brian Frasier-Moore: 23:33 Pads on the spring I think there's 12, but you got 9 trigger inputs. Separated.
Steven Maben: 23:39 You see how crazy that is? And is that the controller?
Brian Frasier-Moore: 23:42 That's just the controller.
Steven Maben: 23:43 Yeah, so he has that running to the Alesis ...
Brian Frasier-Moore: 23:47 It used to be the Kai Z8, which was an MPC 60 rack, right, 250 gig memory. But now recently we just changed to the TD 50.
Steven Maben: 23:56 Crazy. Insanity. That's insanity. Anybody know any of those things that he just said? I only know because I had to look it up. Okay, again, really quickly, really quickly, before we go ...
Brian Frasier-Moore: 24:07 I don't have a life.
Steven Maben: 24:10 I know. He's got to go but he's really donating a lot of time to us. Electronics. I get a million on where do I go to learn electronics? How do I get the electronics? What's the best way to incorporate the electronics in my sound? How do I make this? How do I hybrid drumming quote unquote that whole thing? You are the guy, right now, in my personal opinion, because your entire kit screams hybrid drumming. If you could give some advice on maybe a place to start with incorporating electronics into your set up as a beginner or someone who's trying to get into that kind of thing.
Brian Frasier-Moore: 24:52 That's a great question. I would actually say, for you to start ... it's natural for somebody to throw an SPDS up and hit a snap or a clap and say "Hey, a trigger." Right? But that's not necessarily it. But, what I would suggest, that would really put you in the game, is to get a kick trigger, and a snare trigger, and just start feeling that for a hybrid, because what you'll find is a lot of times, I play with a lot of ghost notes, you can't do as much on the ghost notes because you have this big trigger sound on your snare drum. So now, then it opens up your mind for those rhythms that you fill in the ghost notes, you have to put them somewhere else. Don't lose them, you know what I'm saying? But now your hi hat maybe has to speak a little more intelligently or flavorful because you can't get the ghost notes out of your snare for that flavor.
Brian Frasier-Moore: 25:47 So I would suggest, anyone that wants a trigger, just do a snare and kick trigger, and just get comfortable with that. Listen, if you do that, you know. If you do that ...
Steven Maben: 26:03 Miles ahead.
Brian Frasier-Moore: 26:03 All right? You probably just upgraded like maybe 60 to 70% of the professional drummers that you see out here now. No diss.
Steven Maben: 26:18 I just had to let that simmer for a little while. By the way, if you need to buy gear, I think ... I'll usually tell people to ask me about stuff like that. Where do I go get one, how do I get it? You can go to American Musical Supply and play it, play as you pay for it, Zzounds, pay for these things, get the stuff that you need, because gear, like you said, is a huge point if you want to do it on a pro level, just because the standard just is what it is.
Brian Frasier-Moore: 26:51 Even CJ, CJ Thompson, I was just in North Carolina. Him and Chris Key was playing this gig, and Chris had a regular kit, and CJ had kick drum, SPDS, bongos ... and the stuff he was playing bro, it was just so amazing. It was sick, I was super ... I was in awe, man, it was incredible. I think that sometimes, especially as musicians, as much as we ... what is it? As much as we think on the detail level what you're playing, whether you play keyboards, whether you sing, whether you play drums, bass, or whatever, right? If we get new things into that thinking, like a trigger or a SPDS and we really see it through to really learn it? Do you know what that's going to do for your creativity? It's going to send you through the roof. You're going to be looking at yourself like "Why haven't I done this?"
Brian Frasier-Moore: 27:54 I think sometimes with our creativity and the passion we have, just feed yourself some new stuff. Let me get on this and see how it does. And really see it through, so that you can benefit from it. In my opinion.
Steven Maben: 28:06 All right, so let's go to the BFM world. There's a lot that happens over there on that planet. Let's talk about the consultations, because ... one of the reasons that I ask, and I told you this, one of the reasons that I have Brian here is to bring more awareness to this program that he has. I'm going to let him get into it, but he consults with musicians to pretty much assist you in what you're trying to do. It's not a lesson, this is ... really it's a consultation. It's worth probably 10 to 12 times what it costs. I've done it, so, Brian would you kind of expound on that? Maybe give us a mini one for free, that'd be great.
Brian Frasier-Moore: 28:46 Absolutely, let's do it. So, okay. I'm really excited about this. More than anything else. So, BFM World is my website where I wanted to put all of the services that I offer to help musicians, keyboard players, guitar players, singers, producers, DJs, sound guys, techs, monitor guys, front of house guys, whatever it may be, for you to put your art on that level so you can make some good money and change the world. All right? Let's all be honest here, we're all pretty at that stage where we gotta pay our own bills. Just being honest, right? So, there is somewhere that you can come to, to get advice and to get guidance on your particular area. So, this is a BFM consultation.
Brian Frasier-Moore: 29:37 So, we offer this guidance, you become part of our family, you benefit from the perks that we have there. We have job placement, we have eight people hired on professional gig branding people hired on professional gigs in the last two years. So I'm really proud about that. So, we really walk you through it and we put you in front of who is hiring today in the industry, right? You want to get hired? These are the people that are hiring, this is the program that we do to grab their attention. It works, it's been working, so this is what I do for these consultations.
Brian Frasier-Moore: 30:15 But now, here's the thing, I tell you the truth, with all due respect. I am not disrespectful, I am not degrading, I am not for any negativity. I'm strictly for positivity, so when you come to the service, you have to be open and be able to hear, and accept it. But this is what this consultation service is about. We're helping everybody, we want everybody to have a great fair first opportunity at your craft. For people to hear and for all the work that you've been doing on yourself. People say that I am giving away the secrets and the sauce, that's what they say. You should see my texts sometime.
Brian Frasier-Moore: 30:59 But listen, somebody helped me, somebody said "Hey B, come here man, listen. You got to be on time, bro. Listen man, you're representing this man." My OGs came to me, "Listen bro, you gotta get your drum tuning together man." And you know what? I call them all the time to this day. Just randomly. Anthony Spike [inaudible 00:31:21], Garfield Williams, Jeff Davis, [inaudible 00:31:24] I call all of them all the time. John Roberts. "Yo, man, thank you man," because I see it now.
Brian Frasier-Moore: 31:30 Let me not get far away. BFM consultations is a place where you can come and you can present what you're trying to do, presentations, logos, branding. I got this amazing presentation situation. We go deep into it. You ever been in a club somewhere or you been out somewhere at a concert and you see that person that you want to tell them about what you do, but it's like 10 million people around, and he don't really look like he feel like talking right now, right? Yo, we got plans out this world. It's all about being savvy in today's time, to be able to pass something off to somebody and let them be on their way. But what do you pass off to them? You pass off the most powerful thing. You pass them off a two piece that's going to knock them on the canvas.
Brian Frasier-Moore: 32:19 That's what we do. Yeah. So we're all about encouragement, uplifting, and getting you to the place where you want to be. And that's basically what it is.
Steven Maben: 32:29 Yeah, I'm actually a student in this program.
Brian Frasier-Moore: 32:32 He's doing great.
Steven Maben: 32:33 Bro, I will say ... I meant to tell you this. After I graduated from here, outside of going to school here, this has been the hardest that I think I've worked, because it made me look at it in a different perspective. It made me look at it differently, I was like "Oh, okay." And I was like "Well, I can go get that," and then it was like "Oh wait, that's harder to find than I thought it was. Let me really do some digging." It's been like some sleepless nights kind of thing.
Brian Frasier-Moore: 33:04 Sorry.
Steven Maben: 33:04 But it's worth it. To me, because I want it, you know what I'm saying? And again, any students that have been in my class, I'm always "How badly do you want it? Do you really want it? Are you willing to sacrifice the sleep for it?" It's going to cost you, it is, but anything worth having is going to cost you a little bit.
Brian Frasier-Moore: 33:24 You should see me on the rest of my 22 hours in a day.