Every relationship that I've had with an artist is a slight structural variation of my relationship with Bernard [Edwards]. We taught each other how to believe in each other's artistic ideas; we also taught each other how to fight for ideas where we thought they best served the project. And we'd serendipitously created a production technique that would be the foundation for every project we'd do until our last breath. We called it DHM, or Deep Hidden Meaning. Our golden rule was that all our songs had to have this ingredient. In short it meant understanding the song's DNA and seeing it from many angles. Art is subjective, but if we knew what we were talking about, then we could relay it to others in various disguises while maintaining its essential truth.
