And then it comes in clear and there it is . How do you clear the static , what , what are some of the operational steps that you think might be more um generalisable to regardless of where somebody in , you know , um Africa is listening to this . Now , when I , when I engage in a particular project , whatever it is , I , I dedicate all of myself for that period of time , whatever it is , whether it be uh 20 minutes or whether it be five hours , whatever it is , um total focus and no um outside distraction whatsoever .
You love the radio , Joe , I love the radio , right ? And then it comes in clear and there it is . How do you clear the static , what , what are some of the operational steps that you think might be more um generalisable to regardless of where somebody in , you know , um Africa is listening to this .
How do you clear the static , what , what are some of the operational steps that you think might be more um generalisable to regardless of where somebody in , you know , um Africa is listening to this . Now , when I , when I engage in a particular project , whatever it is , I , I dedicate all of myself for that period of time , whatever it is , whether it be uh 20 minutes or whether it be five hours , whatever it is , um total focus and no um outside distraction whatsoever . And when I leave that process , I do my best not to think about it when I'm away from it .
Do you have a process for , you know , removing the functions of the day and that what you were doing last week and what's going on and um in order to get more access to the , this , um I want to think of it now more as , as a receiver inside of you , right ? Almost like tuning a radio and then it comes in like the beginning of like a strummer clash , right ? You love the radio , Joe , I love the radio , right ?
I don't bring any materials with me . I don't leave the studio with works in progress and spend time listening to them during the day or looking for ideas . I , I stay as far away from it when I'm not directly engaging in it as possible .
