00:02
Jamil GS
I chose the art piece, "FOREIGNERS PLEASE DON'T LEAVE US ALONE WITH THE DANES" created by SUPERFLEX in 2002.

00:11
Jamil GS
The bold graphic font against neon orange reads like an alarming newspaper banner. When I returned to Denmark for a long stay after 20 years in New York, I could see banners pop up at kiosks around Copenhagen with manipulating headlines about immigrants or second-generation Danes.

00:33
Jamil GS
It's both brilliant and tragic. Brilliant because it's a really bold statement that flips the nationalist and racist rhetoric on his head, prompting questions and dialogue. Tragic because it's a topic that is still relevant today in Denmark as well as other countries of the West.

00:55
Jamil GS
It resonates with me because those drew parallels to this destructive racism that I'd seen in America. It could easily as well read, "Foreigners, Please Don't Leave Us Alone with the Americans or Germans or French or British." It is something that didn't exist in the Denmark that I was born in and grew up in.

01:25
Tina Jøhnk Christensen
My name is Tina Jøhnk Christensen, and I'm the host of Danish Originals, a podcast series created in partnership with the American Friends of the National Gallery of Denmark and the National Gallery of Denmark. Our goal is to celebrate Danish creatives who have made a significant mark in the US.

01:43
Tina Jøhnk Christensen
Today, our guest is Jamil GS, a Danish artist. Welcome, Jamil.

01:50
Jamil GS
Thank you. Happy to be here.

01:51
Tina Jøhnk Christensen
I'm happy to have you here. You are in Denmark and I'm in Los Angeles. Where exactly are you and what made you choose this room to talk to us from?

02:02
Jamil GS
I'm speaking to you from home, which is located in the northwestern part of Copenhagen, a neighborhood literally called NV, for Northwest. And I'm at home in my apartment, which is a fairly new building. It's almost like a sculpture. It's an unusual building complex for Copenhagen. It's sort of shaped like a snake. It's something that was built in collaboration with the artist Bjorn Nørgaard, he's a well-known sculptor.

02:36
Jamil GS
Usually when buildings are created, the artist is brought in to sort of sprinkle some aesthetics or art dust on the project at the very end, but I think this project is actually true to the artist's vision, which makes it pretty interesting. And I enjoy being in it. It's organic shapes, there are no square rooms, which is also very unusual. Makes it a little difficult to decorate, but it has a nice energy flow.

03:06
Tina Jøhnk Christensen
So, not a lot of square paintings on the walls.

03:10
Jamil GS
No, there are very few flat walls actually. We have to be creative with the space.

03:15
Tina Jøhnk Christensen
I know that you spent your early years in Los Angeles, where I am now. Your family moved here. Do you recall anything from living in the city? You were very young at the time.

03:27
Jamil GS
Those are actually my earliest memories as a child from LA. And I think I remember them both because there was a mixture of joy and trauma. Somehow those two things seem to cement in our memories. I think the joy part was just going to the beach every day, digging for crawfish, going to Disneyland and Magic Mountain, and playful things.

03:53
Jamil GS
And then I had a traumatic experience, which was, my dad put me on his shoulders and walked into the waves because I was scared of the water. I just played at the shore. But he put me on his shoulders and he walked me into the waves, and the waves were so big in the Pacific that they even went over my head on top of his shoulders.

04:14
Jamil GS
After that, I wasn't scared of the water anymore, and I became a beach lion. So it was an instant fix or instant cure for my fear. But I'll never forget it.

04:24
Tina Jøhnk Christensen
How old were you at the time?

04:26
Jamil GS
Three? Maybe, something like that. We lived in a neighborhood called Carson, and it was somewhere between Long Beach and Compton. And I remember our house being broken into every single day. So, I mean, that was just the neighborhood at the time. I don't know what it's like today, but it was pretty rough. I remember that too. And snakes in the backyard. I mean, there were all kinds of things going on.

04:55
Tina Jøhnk Christensen
What were your parents doing in LA?

04:57
Jamil GS
My dad, he was a musician, a jazz musician. We went over there because he was going to do a longer engagement, a year-long gig of some sorts. And then a bunch of recordings. And that went on for a little while, it didn't continue. And then he was working. He was doing studio sessions and working with Quincy Jones and Brothers Johnson. My mom was pretty much, she was doing some kind of work as well. I don't remember, honestly. But she was mostly home with us, with the kids.

05:32
Tina Jøhnk Christensen
What kind of music was your childhood home filled with?

05:35
Jamil GS
Well, for obvious reasons, it was filled with a lot of jazz, but also a lot of funk music from the '70s that my father was also producing and playing. The artists that he was surrounded with also produced amazing funk music. And reggae, because my mother, she really liked Bob Marley. That was really primarily the genres. Some classical music, now and then, but primarily jazz and funk and reggae. And that was until I started bringing in the music that I was gravitating towards.

06:10
Tina Jøhnk Christensen
You were only 13 when you discovered hip hop. That was back in Denmark. Please share with us the first time you heard it, and what it was that spoke to you on such a deep level.

06:23
Jamil GS
No, actually, it was more, I was about ten. And I was in Tennessee visiting family. And they were playing "Rapper's Delight" and "The Message." And I remember Afrika Bambaataa with the hits coming out, the radio playing it on rotation every ten minutes and that just hit me like lightning somehow. It just went straight in and forced me to move and it arrested me, in that sense.

06:49
Jamil GS
And then it quickly hit the airwaves in Denmark on certain radio programs on Fridays. And it sort of evolved as an underground culture in Denmark as well. It was already underground in the States, but it was super underground in Denmark.

07:05
Tina Jøhnk Christensen
And what was it about it? It's not something that you were used to hearing back then, I assume. What was it that you reacted to?

07:14
Jamil GS
The frequencies were different. It just went in and hit something in my body and mind that just spoke to me right away. It was a different energy. I can't really explain beyond that, I think. But the rest of the culture, I think, also spoke to me. The other elements of hip-hop, the breakdancing, the graffiti, the art. Because it was an art form that was created by the youth. And it was authentic to the youth. It wasn't something that had been handed down or inherited. So I think that it was very fresh.

07:49
Tina Jøhnk Christensen
What made you choose photography as the way to express yourself?

07:53
Jamil GS
Before picking up the camera, I was interested in two things. One was following my dad's footsteps.

08:02
Tina Jøhnk Christensen
Your father — he was a musician, Sahib Shihab, was one of the founding members of Bebop Jazz.

08:09
Jamil GS
Right. I was practicing the horn, playing the saxophone he was teaching me, and I was also into graffiti. When asking my father what it would take to become a really good musician, he explained it would take at least six hours of practice a day. And I was 16, and I was out there doing graffiti, skateboarding, starting to chase girls. I couldn't do that. That was too much for me. I couldn't dedicate my time to that.

08:37
Jamil GS
So, then I went, okay, well then, graffiti. I really loved graffiti. And graffiti had sort of become accepted and it reached a stature of fame and recognition in the art world so that you could actually make a living from it. You didn't just have to run around painting trains and buildings and stuff. So that was then my goal, my dream. Except there were legal implications to creating graffiti, too, if you wanted to be authentic. So that sort of put a stop to that idea.

09:10
Jamil GS
Then I looked at my third interest, which was photography, and it's a similar approach with the finger as in graffiti, where you're spray painting. You're projecting outwards onto a surface, whereas in photography you're inputting all this information and painting with the light into the apparatus, right?

09:29
Jamil GS
So I started experimenting with it when I was 16. My dad gave me a camera. And this was in New York. And it was analog photography. So obviously, you shoot, you expose the film, and then it's a period of mystery, where you have to wait until you see your result when it comes back from the lab.

09:50
Jamil GS
And it was the whole experience of that, of composing, experimenting, having an intention, and then just praying that it actually came out the way you envisioned it, when you got it back. And I would have that same feeling every time I would do a shoot analog. That shifted when it became digital, because you had an instant gratification, you can see right away what you're doing.

10:19
Jamil GS
I think that growing up in a multicultural environment, which for me was Danish and primarily American culture, Danish and American culture equally, but then also some Pakistani influences and Indian influences and Arab cultural influences as well. That really shaped my future vision. That was my input.

10:47
Jamil GS
And fast forward to the moment when I started to express myself, which was when I arrived in New York. My experience with multiculturalism then hit me in a different way, basically. Because growing up in Denmark, I hadn't really seen or experienced racism in any way. And reaching the States, it was a different reality. And sort of seeing people of color, living a life with less justice and equality and a lot of poverty and stuff, it really just shocked me.

11:27
Jamil GS
And it was that shock that catapulted me into wanting to express what I saw. My experience of culture, of being multicultural, and my experience of all the positive things that I would see in New York, generated by people of color, like hip-hop culture, the street culture, the street wear, the fashion, all these things — that really was my main inspiration.

11:58
Tina Jøhnk Christensen
You moved to New York in 1990, I believe. What was the first week in New York like for you? How would you describe the vibe and the atmosphere of the city that first week that you arrived?

12:13
Jamil GS
I believe it was the month of May, so it was early summer, but it was much warmer than the climate that I left in Denmark. I went over with a friend of mine. It was partly a vacation and also a celebration. We had just won a graphic design competition, which was put on by Visa, and we won a cash prize. So we went to splurge in New York, basically, and also explore some things. I went to explore some schools.

12:44
Jamil GS
We both loved hip-hop and at the time you could go out and listen to amazing acts for five dollars every single night of the week. And we really took advantage of that. So we were out every night and in the daytime, we just walked around and explored downtown mostly and also Harlem a bit because we were actually staying in Harlem at the time.

13:09
Tina Jøhnk Christensen
What was that like? How was Harlem and what was your first home like?

13:14
Jamil GS
Well, my first home was a closet in Harlem. Basically.

13:19
Tina Jøhnk Christensen
I believe that.

13:20
Jamil GS
It was tiny. The door opened up onto the mattress on the floor, kind of small. It was that small. It was lower Harlem, so it was a mix between the Upper West Side and Harlem. It wasn't really real Harlem yet, I wouldn't say. But it was still different than any other neighborhood.

13:38
Jamil GS
And then from there, we found a place in Brooklyn, in Fort Greene, where we could rent an entire brownstone for what you could rent a tiny room today. And back then, it was not what it is today either. It was pretty rough. I mean, people with Uzis on the street after dark kind of rough. We had to learn how to navigate that also.

14:07
Tina Jøhnk Christensen
Was it like a culture shock for you or was it an instant connection between you and the city? What was that city like for you?

14:16
Jamil GS
It was a lot of things. I have roots there. My grandparents lived there, and my father grew up there. And it was not too long before I went there, my father passed away.

14:30
Tina Jøhnk Christensen
Oh, I'm sorry.

14:31
Jamil GS
No, it's okay, it is what it is. But I had this urge to go there, and somehow, I don't know, fill a void, or be present, where he had left a lot of footsteps. It was a spiritual homecoming for me, in a way. I just felt at home, instantly. I clicked right away.

14:54
Tina Jøhnk Christensen
You worked with a lot of top names in hip-hop. Share with us who made an impression on you and why these artists stand out for you.

15:04
Jamil GS
I was very privileged to work with artists — a lot of them were of the same age, had the same interests, frequented a lot of the same social venues, clubs, etc., even had mutual friends. So in that sense, I would call them peers. At the same time, I really admired what they did because these were some of the young artists that were coming up.

15:29
Jamil GS
So starting off way back in the early or mid-'90s, Mos Def, today his name is Yasiin Bey. He's still very active, he's a super soulful, extremely clever artist. Jeru the Damaja was also one of the early sessions that I did.

15:47
Jamil GS
And I mean these are artists that when you're walking around the streets in New York, the music is being played out of cars, it's being played in clubs, in shops, everywhere. On the street, people were still walking around with ghetto blasters at that time playing the music on the blocks, et cetera. And they had the biggest hits of the summers.

16:05
Jamil GS
Then I worked with Jay-Z. This was at his earlier foundational stage as well. It was for his very first project, before he had formed Roc-A-Fella Records. The Wu-Tang Clan, Ghostface Killah, Raekwon The Chef. And that was again, personally, a really powerful experience because I remember walking down Canal Street and I'm hearing this piano loop and I'm like, that's Thelonious Monk.

16:33
Jamil GS
I recognized it from my dad's records and I'm like, wait a minute, that beat is crazy. What, who is that? And then that was Wu-Tang. So I was an instant fan, just the connection between respecting the jazz heritage and just picking really amazing riffs to sample that. I'm like, whoever did that is a genius in my eyes. That was the RZA from Wu-Tang.

16:55
Jamil GS
And a lot of the producers were able to do that. Hip-hop was heavily influenced by jazz in the '90s. On that note as well, my very first commission was to photograph a jazz artist, a jazz legend, the late Donald Byrd, who was the most sampled jazz musician in hip-hop.

17:15
Jamil GS
And Guru from Gang Starr decided to start a project where rather than just continue to sample the music, why don't we bring in the original artist and create a live show. So that's what it is. It was called Jazzmatazz. So that was also — had a huge impact on me to be photographing for this project because I knew who Donald Byrd was. I even had some of his records. He used to play with my dad as well.

17:45
Jamil GS
So there were just all these connections, synergies that were beautiful. Later down the line, I worked with amazing artists that I still respect to this day, and a lot of them are still active. Mary J. Blige, Faith Evans, A Tribe Called Quest, D'Angelo, Chuck D from Public Enemy, Geto Boys, Juvenile, Beastie Boys— a lot of amazing artists.

18:16
Tina Jøhnk Christensen
So you got really close to a culture that not a lot of people got close to. There are a lot of myths around it. What was the reality of being close to hip-hop musicians? What were they like? What was their environment and the culture like?

18:33
Jamil GS
I started working with hip-hop when it was entering a new phase. It had gone from the '80s just being a new thing, a lot of people didn't believe in it. It was an underdog basically, right? There wasn't that much economy in it. The first few shoots I did, I had to invest a lot of my own money to make sure that I could deliver a quality that I could feel good about.

19:00
Jamil GS
At that time, again, a lot of these artists I considered my peers because they were young and they were starting out. They were very focused and very professional, but they were young, they were still humble. So I had that experience.

19:15
Jamil GS
Then a few years later, as hip-hop really exploded, I went into the bling era where everyone was getting fat checks and really making a lot of money. And hip-hop was going super global. Then, as any adolescent culture, you go through growing pains, right? So some of these artists just went to their heads and they turned into maybe less likable characters, they became very spoiled.

19:41
Jamil GS
The environment just catered to that also, right? It was about excess and luxury. Some of them took cues from old gangster movies, right? They wanted to embody these personas of the thugs, but thugs are rude people, so they became rude, right? Yeah, I had some experiences on that front too.

20:05
Jamil GS
I remember one time I was doing a shoot with Nas and Foxy Brown, and Foxy Brown was nine hours late. They had a project called Affirm. So there are three solo artists, AZ, Nas, and Foxy Brown together. It's an album that was produced by Dr. Dre. AZ and Nas showed up first. I started doing sessions with them, while waiting for Foxy Brown.

20:34
Jamil GS
After I'd done a lot of sessions with them for a while, I'm like, okay, she's not coming. I was packing up my gear, and then she showed up. So I asked my assistant, just unpack and set it up again. And her attitude was, no excuses, no nothing, she was like, you should just feel lucky that I'm even here, that was the attitude. That's how it was back then.

21:00
Jamil GS
And also, other artists had to literally enter etiquette school, because they had issues communicating with media, journalists, photographers, etc. They were just blatantly rude and that, really, you can only get so far. So then fast forward a few years later, as everyone has their ups and downfalls, et cetera, you obviously learn from that and you just sort of circle back and pull yourself together and hopefully you come out a better human being.

21:32
Jamil GS
And for the sake of longevity too. I mean some of these artists that I'm talking about are still here doing it. Not everybody is, but a lot of the artists that I've worked with are still active and have then grown to soaring heights with their careers. And obviously they've learned a lot along the way.

21:53
Tina Jøhnk Christensen
Do you have some favorite anecdotes that you like telling people and that make you smile or laugh?

22:01
Jamil GS
Some of these artists, they were maybe considered dangerous, or some of them did come from dangerous backgrounds and some of them did engage in certain activities at the time. I remember maybe on some shoots where editors and other staff members, if it was for a publication or whatnot, they would literally hide behind me. They were so scared, that they were like, you know —

22:31
Tina Jøhnk Christensen
Sorry for laughing out loud. That might not be nice.

22:34
Jamil GS
No, no. But some of these guys, there were mostly a lot of guys that I was photographing, not exclusively, but some of these guys were kind of rough to some extent. So in those cases, that did happen a few times. And then also—

22:51
Tina Jøhnk Christensen
Did you ever hide behind anybody when you were around them?

22:55
Jamil GS
No, I didn't. No, because, again, this thing of seeing them as my peers, right? There were just people, everyone's sort of on an equal level in that sense. And there wasn't this whole superstardom inaccessibility.

23:12
Jamil GS
And plus the sessions that I did, wasn't a paparazzi setting. It was always a proper portrait sitting where we would have at least anywhere from four hours to the whole day and sometimes consecutive days to do a shoot. So we could make sure that everything was nice and harmonious and chill for the most part.

23:34
Jamil GS
I guess there's this one moment when I was working with Jay-Z, and we were at Battery Park in downtown Manhattan, where there's a harbor, for yachts basically, and we're standing down there and, seeing this big yacht and taking a few shots of him in front of it. I'm just humoring him. I'm like, maybe you own one of these one day. And he's like, for sure.

23:56
Jamil GS
And then, I mean, fast forward, it was almost like a prophecy. But literally, honestly, at that time, I didn't know who Jay-Z was. Nobody did. It was his very first project. I just based it off hearing the lyrics of his song, which were very aspirational to say the least. So I'm like, sure, you should own one of these one day, it suits you. And we even jumped on it, stole a shot, because we just wanted to explore and take some more pictures.

24:28
Tina Jøhnk Christensen
Where did your work take you? I know you traveled around the United States and experienced different states of this huge country.

24:38
Jamil GS
What I started out doing with hip-hop in New York, I repeated in other parts of America. I used fashion shoots as a camouflage to really put the spotlight on people and cultures that didn't have a spotlight. I did shoots in LA, focusing on the Latino community from a fashion perspective.

25:00
Jamil GS
And then also to Miami where there's the Miami-based culture that was also very underground at the time. And same in Atlanta, like the whole Southern Crunk movement. Everywhere before it really became a mainstream thing, I sought out people in the culture and just created opportunities to put them on blast, put the light on them. It's a gift every time, because you meet amazing people and forge new relationships and get to share something that I find beautiful and valuable.

25:39
Tina Jøhnk Christensen
How about New Orleans?

25:41
Jamil GS
Yes, yes, sure. Absolutely. New Orleans too. I mean, yes. And I would also take the opportunity to explore neighborhoods that I hadn't seen. So when I went to New Orleans to do a shoot with Juvenile from Cash Money, he lived in something called Magnolia Projects, a very impoverished neighborhood and compound.

26:05
Jamil GS
At the time I didn't know it and I might not have taken the assignment, but it was rated the second highest murder capital in America, that small area right there. It had a rough vibe for sure. And it was fun too to also bring a crew out there, really super rough. They were carrying their guns and everything, and once they overcame their own fear, they were really proud too. So that was great.

26:30
Tina Jøhnk Christensen
What are you the most proud of when thinking about your work in New York?

26:35
Jamil GS
I mentioned earlier in our conversation that when arriving in New York and seeing all this inequality, and also seeing how people of color were represented in the media at the time, there was such a gap, such a huge void. And my experience of hip-hop specifically, especially the music, but just hip-hop culture in general, I held it in such high regard, because that's what it was giving me.

27:05
Jamil GS
Also the musical experience, my experience of that. I was like, this is sonically so amazing and the vernacular and the poetry and everything. I thought it was brilliant. I didn't see that representation of the culture at all. And that was my call to action, to fill that void. And I really got into that and I was lucky that it was received well. And that work, it's still being celebrated today and I think that's because it was such an authentic moment, right?

27:37
Jamil GS
The results of those projects came about not for money. There were no other agendas. It was more about, okay, let's just celebrate these people and what they represent, and create something really just strong and drawing all these elements that the city had to offer as well. And there's not just the person in these compositions. There's a lot more to it. It becomes a historical legacy.

28:06
Tina Jøhnk Christensen
You moved back to Copenhagen where you are now. I believe it was about ten years ago or something. What made you do that? What made you move back?

28:15
Jamil GS
It's a funny story actually. I was living between New York and Jamaica at the time, and thought that I was done with the whole big city living and I'm gonna go live on a shack on the beach in Jamaica, you know, just drink coconut water and dive and surf and whatever. And then I went home, it was Christmas time, I was gonna visit my family, as I do some Christmases, and then I ended up falling in love. Then my life just took a turn completely, very quickly.

28:47
Tina Jøhnk Christensen
Was it a Dane?

28:49
Jamil GS
It was. It was someone who I knew as a teenager.

28:54
Tina Jøhnk Christensen
Very nice. Love brought you back to Denmark. How was it to resettle in Denmark, and how has the art scene in Copenhagen changed since you moved to the States and returned?

29:05
Jamil GS
In New York for 20 years, the majority of the business that I built and the network that I created was there. In Denmark, professionally it's been almost a satellite experience. The majority of my clientele is still international. It's starting to change a bit now, which I'm grateful for. That's just been the nature of it for me.

29:28
Jamil GS
And I've been so privileged that even though I've been based primarily here, people still seek me out and find me for projects. I've been involved in some exhibitions in Denmark, but really mostly outside of Denmark.

29:45
Jamil GS
I just concluded a solo exhibition here in Copenhagen called "Frequencies" with a private organization called MILAAP that's owned by Khurram Jamil. That was an amazing experience, really, it's opened up a whole new wave of inspiration for me. So I'm on that wave right now.

30:08
Tina Jøhnk Christensen
I know you created something called Young Stringers. What is this?

30:13
Jamil GS
So, Young Stringers was pretty much a response to some of the negative rhetoric that I would see in the media in Denmark, focusing on second-generation Danes and Muslims, et cetera. I lived in Christianshavn and I would see a lot of cars being stopped and frisks exclusively with brown people.

30:35
Jamil GS
And that just reminded me of something that I experienced in New York, like the structural racism that's been in America for way too long. And it just gave me flashbacks to that. I could just see it, how it was the beginning phases of that. And I felt America's whole history is so old, but in Denmark, this has only been going on or building for less than 30 years.

31:01
Jamil GS
It needs to be turned around. That's not the Denmark I grew up in. So that was a call to action for me. Instead of me shooting or photographing people, I wanted to engage communities and have these communities do it themselves. I started photography workshops in neighborhoods, actually not far from where I live right now as well.

31:28
Jamil GS
Different parts of town, where I did an outreach to a bunch of youths, mostly guys, who then got involved. And we did projects and exhibitions, and really started a movement with some positive response and experiences.

31:44
Tina Jøhnk Christensen
What do you think you brought with you from Denmark to New York, when you were a young man arriving there?

31:52
Jamil GS
Obviously, my eye was shaped by my experience between Denmark and America, but as a child I spent most of my years in Denmark, so my eye has been shaped and influenced by that. And I think also my approach to craftsmanship, the understanding and preference for quality.

32:13
Jamil GS
And then also, a way of being a human being, hopefully a decent human being. I mean, when I came to New York and I saw that, the poverty and all that, and then the homelessness, I was in such shock, I couldn't understand. Coming from Denmark, how can people allow this?

32:37
Jamil GS
It was normalized, but this is not normal. And somehow, in a lot of countries, that's become acceptable or accepted as normal. Coming from Denmark, that's just not normal. You find a way to take care of your fellow citizens and then somehow some way.

32:56
Tina Jøhnk Christensen
True. In perspective, what have the adventures in the US taught you, and how have they enriched you? What did you take with you from the US to Denmark?

33:09
Jamil GS
It's just enforced the beliefs that come from multiculturalism, which is that these amazing synergies happen when people from different places and cultures meet and exchange dialogue and ideas. You can create something that didn't exist before that just helps everything and especially humanity.

33:35
Jamil GS
And I think that's one of the greatest things about America. I mean, America is such a diverse place. I can speak mostly of my experience in New York, and seeing how people can enjoy existence together in sometimes very tight quarters, even, and just keep being inspired by each other.

34:01
Tina Jøhnk Christensen
If I were to ask you, what is the American part of Jamil, and what is the Danish part of Jamil, how would you define that?

34:11
Jamil GS
My left foot is my American and my right foot is my Danish.

34:16
Tina Jøhnk Christensen
All right. All right.

34:19
Jamil GS
I've lived my life in an internal split—

34:22
Tina Jøhnk Christensen
Yeah.

34:23
Jamil GS
— with one foot crossing the Atlantic, that's who I am.

34:27
Tina Jøhnk Christensen
And finally, where do you want to grow old?

34:32
Jamil GS
In my heart? I don't know. Perfect place. I love nature, and I love the city, so I would need both somehow. Where I live right now, it's in the city, but it's very green. There's a lot of trees. There's a park right next to me. I look outside the window and it's lush, and now it's fiery orange and red because of the season.

34:56
Jamil GS
But that's something that I would like to expand on even further as the years go by. I'm not sure. Maybe I'll come see you guys in LA a little bit and dabble back to New York. And then, maybe have a small place here in Copenhagen. We'll see.

35:14
Tina Jøhnk Christensen
You'll continue to be traveling back and forth and be multi-country.

35:23
Jamil GS
Yeah, I'm inspired to continue the journey, and exploring, even revisiting places I've been before, because now I have a different lens. Just things happen, with life experiences, etc., you see things in a whole new way.

35:39
Tina Jøhnk Christensen
Alright, Jamil, thank you so much for being with us on Danish Originals. We really appreciate you being with us.

35:46
Jamil GS
It's great to talk to you and be with you as well.

35:48
Tina Jøhnk Christensen
Thank you so much!

35:52
Tina Jøhnk Christensen
For today's episode, Jamil GS chose SUPERFLEX's FOREIGNERS, PLEASE DON'T LEAVE US ALONE WITH THE DANES! from 2002 from the collection of the National Gallery of Denmark.