How do you navigate that responsibility with your creativity? What is such a personal process like working on that with Bhamuti before it's released to the world?

Hmm.

It's heavy.

It's heavy.

It really is heavy.

I consider it an honor to be used in this way, but it's weighty.

It takes a certain toll on my emotional well-being as well as Physical well-being, that piece was difficult because so much pain came out of that and came out of this experience, not just in Minnesota, but from George Floyd and his family and the community.

How did that project evolve and change over the past year in the way that DC has changed over the past year?

No.

But he was like, why are you doing this? Imagine me going through Three Degrees and finally realizing this is what you should be doing.

This is the type of music you should be doing.

And he was Greek, and he was putting the music of his culture into the music of the concert stage, into symphonic music.

And so he kind of helped me find the language, find the way to get the ideas that were here on the page so that anyone, whether you understood the styles or not, you could read the notes and present it in the way that I heard it.

Now, that came with some issues because in these spaces, particularly in classical music, For some reason, I know why, but it's the same that racism keeps these types of music in those halls.

In traditional conservatories, you study Bach, you study Beethoven, you study performance practices.

You're like, what am I saying?