1 00:00:00,760 --> 00:00:03,640 Speaker 1: This is Talia Schlanger and you're listening to Here's the 2 00:00:03,720 --> 00:00:11,520 Speaker 1: Thing from I Heart Radio. Hello all Line with fits 3 00:00:12,560 --> 00:00:22,320 Speaker 1: Garman fetching the jacket off these poses, such beautiful poses, 4 00:00:23,040 --> 00:00:30,120 Speaker 1: mats and feel like picking up roses. That's the absolutely 5 00:00:30,240 --> 00:00:34,519 Speaker 1: unmistakable voice of Rufus Waynewright. The song is Poses. It's 6 00:00:34,560 --> 00:00:37,520 Speaker 1: the title track from his second album. You could say 7 00:00:37,600 --> 00:00:42,200 Speaker 1: that musical craftsmanship was Waynewright's destiny. It's certainly in his DNA. 8 00:00:42,800 --> 00:00:45,720 Speaker 1: He was born to Folk Royalty, son of singer songwriters 9 00:00:45,760 --> 00:00:49,240 Speaker 1: Loud and Wayne Wright the third and Kate McGarrigle. His sister, Martha, 10 00:00:49,440 --> 00:00:53,640 Speaker 1: is also a compelling musician. Rufus Waynewright was playing piano 11 00:00:53,720 --> 00:00:56,440 Speaker 1: by the time he was six, and touring as a 12 00:00:56,480 --> 00:00:59,040 Speaker 1: member of the McGarrigle sisters and family when he was 13 00:00:59,120 --> 00:01:02,560 Speaker 1: only their team, so it's no surprise that he broke 14 00:01:02,600 --> 00:01:06,440 Speaker 1: through early. Rolling Stone named Rufus Wayne Wright Best New 15 00:01:06,560 --> 00:01:09,720 Speaker 1: Artist for his self titled debut album. He went on 16 00:01:09,800 --> 00:01:13,600 Speaker 1: to record nine more studio albums and five live albums. 17 00:01:13,920 --> 00:01:17,240 Speaker 1: He's won Juno Awards and been nominated for Grammy's. He's 18 00:01:17,240 --> 00:01:20,000 Speaker 1: been honored by GLAD and has poured his gifts into 19 00:01:20,120 --> 00:01:40,520 Speaker 1: numerous genres, from pop to standards and even opera. That's Oh, 20 00:01:40,560 --> 00:01:44,440 Speaker 1: Madame Saint Laen from Rufus's opera Prima Donna. He's also 21 00:01:44,640 --> 00:01:49,120 Speaker 1: an unabashed lover of theater and of the legendary Judy Garland. 22 00:01:50,400 --> 00:02:03,120 Speaker 1: News like a bell that is ringing, That's almost like 23 00:02:03,280 --> 00:02:06,080 Speaker 1: being in love from rufus is two thousand and seven 24 00:02:06,160 --> 00:02:10,280 Speaker 1: live album Rufus Does Judy at Carnegie Hall. The song's 25 00:02:10,400 --> 00:02:14,120 Speaker 1: Rufus performs are so wide ranging and demanding, I was 26 00:02:14,160 --> 00:02:17,919 Speaker 1: curious to hear how he prepares on show day. Yeah, 27 00:02:17,919 --> 00:02:22,400 Speaker 1: I just got off a fairly long European tour. Um 28 00:02:22,600 --> 00:02:25,799 Speaker 1: I would say, you know, especially when you're in Europe 29 00:02:25,840 --> 00:02:28,680 Speaker 1: and you're going, you know, to a different country every day, 30 00:02:29,080 --> 00:02:32,680 Speaker 1: that usually entails, you know, trying to get some sense 31 00:02:33,440 --> 00:02:36,440 Speaker 1: of where you are and maybe taking a walk, you know, 32 00:02:36,680 --> 00:02:41,120 Speaker 1: around the beautiful part of of the place that you're playing. 33 00:02:41,520 --> 00:02:43,280 Speaker 1: But other than that, you know, I think what I 34 00:02:43,400 --> 00:02:46,280 Speaker 1: most enjoyed doing, just on a more kind of musical level, 35 00:02:46,440 --> 00:02:48,840 Speaker 1: is is, you know, I write songs all the time, 36 00:02:49,440 --> 00:02:51,240 Speaker 1: and if I can get into a mode where I'm 37 00:02:51,240 --> 00:02:55,040 Speaker 1: writing backstage, I kind of get lost in that process. 38 00:02:55,639 --> 00:02:58,960 Speaker 1: On one hand, and also it warms up my voice 39 00:02:59,400 --> 00:03:02,560 Speaker 1: because I'm just sort of, you know, singing repetitively. But 40 00:03:02,600 --> 00:03:06,240 Speaker 1: then also I have this strange thing where oftentimes I 41 00:03:06,280 --> 00:03:08,720 Speaker 1: will come up with an amazing lyric or what I 42 00:03:08,800 --> 00:03:11,600 Speaker 1: think is an amazing lyric right before I have to 43 00:03:11,600 --> 00:03:18,200 Speaker 1: go on stage. It's like a strange, little cosmic sort 44 00:03:18,200 --> 00:03:20,760 Speaker 1: of thing that happens, and so I'm always shocked, like, 45 00:03:20,919 --> 00:03:23,720 Speaker 1: right before I have to, you know, jump onto the stage, 46 00:03:23,760 --> 00:03:26,600 Speaker 1: it's like melody will come or this lyric will come, 47 00:03:26,639 --> 00:03:29,600 Speaker 1: and it's kind of you know, the muses playing tricks 48 00:03:29,639 --> 00:03:32,520 Speaker 1: on me a bit, So like here you go. Now 49 00:03:32,560 --> 00:03:35,640 Speaker 1: you can't work on this idea now people. Yeah, yeah, 50 00:03:35,760 --> 00:03:39,200 Speaker 1: it's it happens quite regularly. So wait, so what do 51 00:03:39,240 --> 00:03:41,680 Speaker 1: you do with it? Then? Right, very quickly, you know, 52 00:03:41,720 --> 00:03:44,760 Speaker 1: grab my phone and record it and and then run out. 53 00:03:45,160 --> 00:03:48,480 Speaker 1: But it's odd how that happens almost regularly. If if 54 00:03:48,520 --> 00:03:52,120 Speaker 1: I am writing before a show, I'm sort of knocked 55 00:03:52,120 --> 00:03:55,440 Speaker 1: out that you have the energy to write before a show. Yeah, 56 00:03:55,640 --> 00:03:58,080 Speaker 1: And then often I'll finish the show and come back 57 00:03:58,120 --> 00:04:01,720 Speaker 1: and I'll continue writing. I Mean it's not always like that, 58 00:04:01,760 --> 00:04:04,160 Speaker 1: but but I go through periods like that. And actually 59 00:04:04,240 --> 00:04:06,960 Speaker 1: my band are a little bit chocked. They're like this guy, 60 00:04:07,040 --> 00:04:12,680 Speaker 1: just somebody turn them off, He's gonna disintegrate. It's kind 61 00:04:12,680 --> 00:04:16,160 Speaker 1: of unbelievable because performing is exhausting, it's so demanding, and 62 00:04:16,760 --> 00:04:20,040 Speaker 1: writing your sort of are you asking for energy from 63 00:04:20,040 --> 00:04:22,279 Speaker 1: a different part of yourself? Yeah, it's a it's a 64 00:04:22,320 --> 00:04:25,839 Speaker 1: different part of yourself. And then also it's my happy place, 65 00:04:26,040 --> 00:04:29,039 Speaker 1: you know, what can I say? I mean, it's it's 66 00:04:29,080 --> 00:04:31,760 Speaker 1: sure beats you know, watching the news on the bus 67 00:04:33,520 --> 00:04:37,800 Speaker 1: to continue that cosmic journey through you know, lyrics and music. 68 00:04:38,440 --> 00:04:40,719 Speaker 1: I want to drill down a little bit more on 69 00:04:40,760 --> 00:04:43,320 Speaker 1: the writing process, Like you said, muses. Do you believe 70 00:04:43,400 --> 00:04:46,320 Speaker 1: they're a sort of spiritual component or an otherworldly component 71 00:04:46,360 --> 00:04:50,679 Speaker 1: two ideas dropping into your head? Yes? Yes, Well, speaking 72 00:04:50,680 --> 00:04:53,599 Speaker 1: with Talia, who of course is one of the muses, 73 00:04:54,240 --> 00:04:57,440 Speaker 1: yeah no, I I I have a kind of witchy 74 00:04:57,480 --> 00:05:01,520 Speaker 1: you know, belief and inspiration and you know, coming up 75 00:05:01,560 --> 00:05:04,159 Speaker 1: with these ideas and characters that kind of speak to 76 00:05:04,200 --> 00:05:08,240 Speaker 1: you from another world and need to be um manifested 77 00:05:08,279 --> 00:05:11,760 Speaker 1: and so forth. I I strongly believe in that kind 78 00:05:11,760 --> 00:05:16,800 Speaker 1: of pagan ritual you know of summoning the music. Yes, 79 00:05:17,320 --> 00:05:18,760 Speaker 1: what needs to be in place for you to be 80 00:05:18,760 --> 00:05:20,600 Speaker 1: able to summon them? Like, is there a part of 81 00:05:20,640 --> 00:05:23,320 Speaker 1: your life that you have to be active in order 82 00:05:23,360 --> 00:05:25,800 Speaker 1: for that connection to be there? You just have to ask, 83 00:05:25,960 --> 00:05:28,359 Speaker 1: you know, you just have to summon them. Uh, and 84 00:05:28,440 --> 00:05:31,360 Speaker 1: it really doesn't take that long. I mean, I and 85 00:05:31,680 --> 00:05:34,200 Speaker 1: I'm as once again, I'm very lucky to have this 86 00:05:34,279 --> 00:05:37,719 Speaker 1: because because some artists don't. But I have often found 87 00:05:37,720 --> 00:05:39,400 Speaker 1: that if I really sit down and I say, look, 88 00:05:39,400 --> 00:05:41,000 Speaker 1: I got to write this song, you know, send me 89 00:05:41,040 --> 00:05:45,239 Speaker 1: a message, I am usually rewarded pretty quickly. Uh. Maybe 90 00:05:45,240 --> 00:05:48,280 Speaker 1: it's not you know, a masterpiece or anything, but I 91 00:05:48,320 --> 00:05:51,360 Speaker 1: don't know. There's this. I have a very good relationship 92 00:05:51,480 --> 00:05:54,400 Speaker 1: with the creative forces. For some reason, I have good 93 00:05:54,440 --> 00:05:56,960 Speaker 1: karma or something. For instance, you know, my sister just 94 00:05:57,320 --> 00:06:00,200 Speaker 1: wrote a book, Martha Wayne Right. She wrote a book 95 00:06:00,240 --> 00:06:02,920 Speaker 1: about a sort of a memoir called I think it's 96 00:06:02,960 --> 00:06:05,680 Speaker 1: called Stories I Might Regret telling you or something, and 97 00:06:05,720 --> 00:06:09,359 Speaker 1: it's doing quite well. And I've written things occasionally that 98 00:06:09,520 --> 00:06:12,039 Speaker 1: is the complete opposite. If I have to write prose 99 00:06:12,760 --> 00:06:16,240 Speaker 1: and sit down and you know, compose a sort of story, 100 00:06:16,520 --> 00:06:20,159 Speaker 1: that's that that that's like pulling teeth for me. I'm 101 00:06:20,200 --> 00:06:22,320 Speaker 1: wondering also, like so they're there are these ideas that 102 00:06:22,360 --> 00:06:23,920 Speaker 1: come from wherever they come from, but then there's the 103 00:06:23,960 --> 00:06:27,320 Speaker 1: actual work, like the mechanics of sitting down and giving 104 00:06:27,440 --> 00:06:31,360 Speaker 1: physical form to an idea, which is like a massive 105 00:06:31,360 --> 00:06:34,080 Speaker 1: amount of work. Do you ever have a day where 106 00:06:34,120 --> 00:06:35,920 Speaker 1: you're like, and I don't want to do that. If 107 00:06:35,920 --> 00:06:37,640 Speaker 1: I have to do it, I do it. But it 108 00:06:37,800 --> 00:06:42,160 Speaker 1: isn't um, I don't know. I mean, I'm someone who 109 00:06:42,960 --> 00:06:45,159 Speaker 1: maybe because I you know, I have I've had, you know, 110 00:06:45,720 --> 00:06:48,800 Speaker 1: rather reckless tendencies in the past. You know, I wanted 111 00:06:48,839 --> 00:06:51,600 Speaker 1: to go out and wanted to kind of lose myself 112 00:06:51,640 --> 00:06:56,760 Speaker 1: and you know, the dark recesses of of the world occasionally. Therefore, 113 00:06:56,800 --> 00:06:58,719 Speaker 1: I've always had a lot of projects on the go, 114 00:06:59,360 --> 00:07:02,920 Speaker 1: whether it's music, nicles or operas or making records, and 115 00:07:02,960 --> 00:07:05,599 Speaker 1: that does also you know, that gets me out of 116 00:07:05,640 --> 00:07:09,200 Speaker 1: my head and just allows me you know, just just 117 00:07:09,720 --> 00:07:13,680 Speaker 1: it's it's it's wholesome in the end, keeps you out 118 00:07:13,680 --> 00:07:16,000 Speaker 1: of trouble. Yeah, it keeps me out of trouble. There 119 00:07:16,040 --> 00:07:19,360 Speaker 1: you go, that's fair. Fair, Well, I'm wondering, like the 120 00:07:19,880 --> 00:07:21,560 Speaker 1: you put out a new album a couple of years ago. 121 00:07:21,600 --> 00:07:24,200 Speaker 1: And when I think about your evolution as a songwriter, 122 00:07:24,600 --> 00:07:26,480 Speaker 1: I'm wondering how you think that you've changed as a 123 00:07:26,520 --> 00:07:30,240 Speaker 1: songwriter over time, maybe since you were engaging in some 124 00:07:30,280 --> 00:07:34,559 Speaker 1: of those dark recesses. Yeah, I mean, certainly every song 125 00:07:34,640 --> 00:07:37,760 Speaker 1: that I've written, I try to write it as if 126 00:07:37,800 --> 00:07:41,120 Speaker 1: I've never written a song before, you know. Um. But 127 00:07:41,160 --> 00:07:44,000 Speaker 1: then of course there are you know, themes that that 128 00:07:44,080 --> 00:07:47,040 Speaker 1: arise that I've worked with and and and there does 129 00:07:47,080 --> 00:07:49,640 Speaker 1: seem to be kind of types of songs that I 130 00:07:49,680 --> 00:07:53,000 Speaker 1: write that are in these compartments. I really try to 131 00:07:53,040 --> 00:07:56,240 Speaker 1: make it a blank slate at the outset. I think 132 00:07:56,240 --> 00:07:58,720 Speaker 1: when you do it so much and for so many 133 00:07:58,760 --> 00:08:01,880 Speaker 1: different types of objects, you do have to sort of, 134 00:08:02,200 --> 00:08:04,239 Speaker 1: you know, you have to be able to get super 135 00:08:04,320 --> 00:08:07,000 Speaker 1: sent about it at the outset, and then then it 136 00:08:07,000 --> 00:08:09,240 Speaker 1: takes the form that it will take. I mean, if 137 00:08:09,280 --> 00:08:12,200 Speaker 1: I was a pop songwriter, you know, and that does exist, 138 00:08:12,240 --> 00:08:14,280 Speaker 1: you know, there are especially in Los Angeles, I mean 139 00:08:14,280 --> 00:08:17,560 Speaker 1: there's whole teams of people who churn out these pop 140 00:08:17,640 --> 00:08:20,440 Speaker 1: hits and they had a real formula to it and 141 00:08:20,480 --> 00:08:24,360 Speaker 1: a real kind of like desire to know hit a 142 00:08:24,480 --> 00:08:28,160 Speaker 1: market and stuff that is a big job. I cannot 143 00:08:28,240 --> 00:08:30,480 Speaker 1: do that. Why is it, like, how is what you 144 00:08:30,560 --> 00:08:33,600 Speaker 1: are doing different than than what that is? Well, because 145 00:08:33,640 --> 00:08:36,440 Speaker 1: I'm I'm going you know, for me, it's a spiritual 146 00:08:36,840 --> 00:08:38,959 Speaker 1: I'm not saying that other people don't have a spiritual 147 00:08:39,360 --> 00:08:43,520 Speaker 1: connection to their songwriting, but mine is holy, so you 148 00:08:43,559 --> 00:08:45,920 Speaker 1: know in the sense that like I'm when I'm writing 149 00:08:45,960 --> 00:08:48,559 Speaker 1: a song, I'm not thinking about any other artist singing out. 150 00:08:48,600 --> 00:08:51,000 Speaker 1: I'm not thinking about you know, what's on the radio. 151 00:08:51,000 --> 00:08:53,720 Speaker 1: I'm not thinking about what the kids want to hear 152 00:08:53,960 --> 00:08:56,199 Speaker 1: or what what's you know popular at the moment. It's 153 00:08:56,240 --> 00:08:59,680 Speaker 1: like totally devoid of anything like that. And I'm not 154 00:08:59,760 --> 00:09:02,120 Speaker 1: necess proud of this. It's just how I do it, 155 00:09:02,600 --> 00:09:05,320 Speaker 1: you know. But that's the journey that I take, and 156 00:09:05,400 --> 00:09:08,400 Speaker 1: people seem to react well to it. You know. Well, 157 00:09:08,400 --> 00:09:10,000 Speaker 1: it's kind of always been that weight. Like if I'm 158 00:09:10,080 --> 00:09:13,160 Speaker 1: as you're saying this, I'm thinking, put out your debut album, 159 00:09:13,280 --> 00:09:15,640 Speaker 1: the biggest albums that you were, like the Miseducation of 160 00:09:15,720 --> 00:09:19,200 Speaker 1: Lauren Hill, like Hip Hop, R and B Soul, Mezzanine, 161 00:09:19,240 --> 00:09:21,439 Speaker 1: Massive Attack, the grunge era had just coming out. It 162 00:09:21,480 --> 00:09:23,760 Speaker 1: was all about people pretending that they weren't putting effort 163 00:09:23,760 --> 00:09:26,120 Speaker 1: into anything. Did you have any sense or any care 164 00:09:26,160 --> 00:09:28,880 Speaker 1: about how you were fitting in at that time? I 165 00:09:28,920 --> 00:09:34,080 Speaker 1: had no idea what was happening. On many levels, I 166 00:09:34,160 --> 00:09:36,079 Speaker 1: just wanted to write a really great song. I mean 167 00:09:36,120 --> 00:09:39,360 Speaker 1: I was, I was very and still am, you know, 168 00:09:39,640 --> 00:09:42,960 Speaker 1: dedicated to the classics of songwriting, whether it's you know, 169 00:09:43,000 --> 00:09:47,960 Speaker 1: the Classic American Songbook or you know German Leader or 170 00:09:48,600 --> 00:09:51,920 Speaker 1: Opera and or or you know, great American musicals, and 171 00:09:51,960 --> 00:09:55,920 Speaker 1: I just wanted to write something that was kind of arresting, 172 00:09:56,040 --> 00:09:58,640 Speaker 1: as as those works can be, you know, and a 173 00:09:58,640 --> 00:10:01,079 Speaker 1: lot of that music, you know, when like Nirvana came 174 00:10:01,080 --> 00:10:02,880 Speaker 1: out and stuff. I just it's not that I didn't 175 00:10:02,880 --> 00:10:05,960 Speaker 1: like it or or that I didn't get it. I 176 00:10:06,040 --> 00:10:10,200 Speaker 1: just didn't. It just wasn't in my per view, which 177 00:10:10,240 --> 00:10:12,000 Speaker 1: is funny because I ended up going to l A 178 00:10:12,200 --> 00:10:15,400 Speaker 1: and hanging out with Courtney Love, like I knew all 179 00:10:15,400 --> 00:10:18,120 Speaker 1: those people. I was in that scene. But I was 180 00:10:18,200 --> 00:10:20,720 Speaker 1: in my own little bubble, doing my own little thing, 181 00:10:20,800 --> 00:10:24,160 Speaker 1: and thankfully I had the I had the support to 182 00:10:24,160 --> 00:10:28,120 Speaker 1: do that with DreamWorks Records and stuff. So, yeah, you 183 00:10:28,160 --> 00:10:30,200 Speaker 1: said that you wanted to write the great song or 184 00:10:30,200 --> 00:10:31,800 Speaker 1: that you were on the hunt for something. Was there 185 00:10:31,800 --> 00:10:33,600 Speaker 1: the first song that came out of you that you 186 00:10:33,600 --> 00:10:35,880 Speaker 1: were like, Okay, I can do this well. I mean, 187 00:10:35,880 --> 00:10:38,839 Speaker 1: the one, the one that's most sort of seminal is 188 00:10:38,880 --> 00:10:41,360 Speaker 1: this song Beauty Mark, that I wrote about my mother 189 00:10:42,040 --> 00:11:05,440 Speaker 1: early early on, and it's on my first album because 190 00:11:05,480 --> 00:11:09,319 Speaker 1: I had written a bunch of songs that we're kind 191 00:11:09,320 --> 00:11:11,240 Speaker 1: of all over the place, and my mother told me that, 192 00:11:11,840 --> 00:11:13,880 Speaker 1: she said, you know you, she said, you gotta really 193 00:11:13,920 --> 00:11:15,560 Speaker 1: tighten this up a little bit here, because I don't 194 00:11:15,559 --> 00:11:17,400 Speaker 1: think we're gonna want to listen to this too much. 195 00:11:17,679 --> 00:11:19,680 Speaker 1: We should say, like, she was an amazing folk singer. 196 00:11:19,720 --> 00:11:23,080 Speaker 1: Kate mcgarrig old. Yeah, she was, yeah, yeah, legendary. She 197 00:11:23,120 --> 00:11:26,160 Speaker 1: wasn't just like some moms like no, no, no, no, 198 00:11:26,240 --> 00:11:29,640 Speaker 1: she was. She was very um intent on really, you know, 199 00:11:29,920 --> 00:11:33,000 Speaker 1: giving me a solid education, and therefore was pretty critical 200 00:11:33,440 --> 00:11:36,040 Speaker 1: of both my sister and I. But so I wrote 201 00:11:36,080 --> 00:11:40,000 Speaker 1: Beauty Mark as a kind of reply to her, and uh, 202 00:11:40,040 --> 00:11:42,080 Speaker 1: and she loved that song, and she kind of liked 203 00:11:42,120 --> 00:11:46,760 Speaker 1: every song after that pretty much except for a few exceptions. 204 00:11:47,360 --> 00:11:50,160 Speaker 1: And she'd tell you those, oh yeah, she would let 205 00:11:50,200 --> 00:11:54,880 Speaker 1: right now, So you write that song early on, and 206 00:11:54,920 --> 00:11:57,200 Speaker 1: you like sort of mentioned that when you were writing 207 00:11:57,240 --> 00:11:58,960 Speaker 1: at that time in your early career, there was a 208 00:11:59,000 --> 00:12:01,720 Speaker 1: big lifestyle that was going along with it, partying, having 209 00:12:01,760 --> 00:12:03,360 Speaker 1: a lot of fun. How did you balance that with 210 00:12:03,400 --> 00:12:05,560 Speaker 1: the actual craft of like sitting down at the piano 211 00:12:05,600 --> 00:12:08,200 Speaker 1: and doing what you were doing. Yeah, yeah, well I 212 00:12:08,240 --> 00:12:10,920 Speaker 1: just it all came together, you know, it was all 213 00:12:10,920 --> 00:12:13,680 Speaker 1: done at the same time. I mean, I my great 214 00:12:14,320 --> 00:12:17,360 Speaker 1: saving grace, and it is true, is that I was 215 00:12:17,559 --> 00:12:20,360 Speaker 1: never able to really perform when I was screwed up, 216 00:12:20,880 --> 00:12:24,360 Speaker 1: like I like, drinking and singing on stage just did 217 00:12:24,360 --> 00:12:28,360 Speaker 1: not work for me. I immediately, you know, my tuning 218 00:12:29,000 --> 00:12:33,400 Speaker 1: faltered and my piano playing I'd make mistakes and stuff. 219 00:12:33,440 --> 00:12:36,640 Speaker 1: So so I had to have a line and sort 220 00:12:36,640 --> 00:12:38,960 Speaker 1: of a boarder there that that that I was thankfully 221 00:12:38,960 --> 00:12:41,960 Speaker 1: I had. But but when I wrote and stuff at home, 222 00:12:42,080 --> 00:12:43,680 Speaker 1: you know, I could do whatever the hell I wanted, 223 00:12:44,679 --> 00:12:46,920 Speaker 1: you know, and I very much, you know, kind of 224 00:12:46,920 --> 00:12:49,360 Speaker 1: would go to a party and then get back at 225 00:12:49,440 --> 00:12:52,040 Speaker 1: dawn and then you know, write more and beat market 226 00:12:52,120 --> 00:12:55,600 Speaker 1: such a raw song, as so many of your songs are. 227 00:12:56,360 --> 00:12:58,600 Speaker 1: I'm wondering, like, as a writer, was it always comfortable 228 00:12:58,640 --> 00:13:00,360 Speaker 1: for you to go to a place like that and 229 00:13:00,440 --> 00:13:05,080 Speaker 1: write with that much honesty. Yeah, yeah, no, it was 230 00:13:05,160 --> 00:13:09,360 Speaker 1: look I had there was never any choice otherwise. I mean, 231 00:13:09,640 --> 00:13:12,000 Speaker 1: and that and that's more of a family tradition. I mean, 232 00:13:12,040 --> 00:13:14,800 Speaker 1: if you look at my dad's music loud Wayne right, 233 00:13:14,920 --> 00:13:17,880 Speaker 1: or my mother or my sister Martha. I mean, we've 234 00:13:17,920 --> 00:13:23,720 Speaker 1: always imbued our material with you know, blood and for 235 00:13:23,800 --> 00:13:26,240 Speaker 1: better or for worse. I mean, it's been somewhat of 236 00:13:26,240 --> 00:13:31,160 Speaker 1: a rocky road, but that was begun by our parents. 237 00:13:31,360 --> 00:13:35,360 Speaker 1: So yeah, we're just continuing a tradition, and um, it's 238 00:13:35,400 --> 00:13:37,240 Speaker 1: working for the time being. I don't know if our 239 00:13:37,320 --> 00:13:40,959 Speaker 1: kids will we'll go into music and do that as well, 240 00:13:41,080 --> 00:13:46,160 Speaker 1: but who knows. I read somewhere that your parents put 241 00:13:46,160 --> 00:13:48,240 Speaker 1: you to sleep like in a guitar case when you 242 00:13:48,240 --> 00:13:50,480 Speaker 1: were a baby. Is that actually folk fairy tale or 243 00:13:50,520 --> 00:13:52,800 Speaker 1: is that true? That's true? And I have a photograph. 244 00:13:52,840 --> 00:13:55,440 Speaker 1: I have a photograph. You know, my mother was in 245 00:13:55,520 --> 00:13:58,320 Speaker 1: the hospital, uh you know, she had me and then 246 00:13:58,880 --> 00:14:02,360 Speaker 1: they were driving her home, but before going home, she 247 00:14:02,360 --> 00:14:04,240 Speaker 1: wanted to see my dad in the studio and there 248 00:14:04,280 --> 00:14:06,360 Speaker 1: was no crib there, so they put me in the 249 00:14:06,360 --> 00:14:08,920 Speaker 1: guitar case and that was my first ever crib outside 250 00:14:08,920 --> 00:14:12,080 Speaker 1: of the hospital. It's a guitar case. Yeah, and your parents, 251 00:14:12,120 --> 00:14:14,880 Speaker 1: I understand split when you were three years old three 252 00:14:15,960 --> 00:14:17,640 Speaker 1: What did you understand about it at that time or 253 00:14:17,640 --> 00:14:19,080 Speaker 1: how did they explain it to you? I didn't. I 254 00:14:19,120 --> 00:14:22,280 Speaker 1: didn't really understand it at all. But the one sort 255 00:14:22,320 --> 00:14:24,560 Speaker 1: of memory that I have that that stuck with me 256 00:14:24,680 --> 00:14:27,280 Speaker 1: was wondering why they were putting the dining room table 257 00:14:27,360 --> 00:14:30,880 Speaker 1: in the back of a truck like that didn't really 258 00:14:30,960 --> 00:14:33,440 Speaker 1: make much sense to me. But yeah, so I remember that, 259 00:14:33,720 --> 00:14:36,000 Speaker 1: And yeah, I know it was. It was a very 260 00:14:36,000 --> 00:14:39,360 Speaker 1: tough divorce for everybody, for both my parents and also 261 00:14:39,400 --> 00:14:44,200 Speaker 1: for my sister and I. And and we do write 262 00:14:44,240 --> 00:14:47,720 Speaker 1: about it, you know, we do. We do communicate these stories. 263 00:14:48,040 --> 00:14:51,200 Speaker 1: I think people appreciate that. But yet, as I said, 264 00:14:51,200 --> 00:14:53,200 Speaker 1: it comes at a price as well, because you know, 265 00:14:53,240 --> 00:14:56,080 Speaker 1: the lines can be blurred between you know, the stage 266 00:14:56,080 --> 00:15:01,840 Speaker 1: and the kitchen. That's sure. I mean, it kind of 267 00:15:01,880 --> 00:15:05,000 Speaker 1: blows my mind to think about having a mom who's 268 00:15:05,040 --> 00:15:08,360 Speaker 1: working at communicating her feelings about your family life on 269 00:15:08,480 --> 00:15:12,320 Speaker 1: stage two audiences while you're growing up in it, Like, 270 00:15:12,400 --> 00:15:13,760 Speaker 1: can you give me a sense of what it was 271 00:15:13,800 --> 00:15:18,240 Speaker 1: like to grow up with a songwriter for both parents. Yeah, 272 00:15:18,280 --> 00:15:21,600 Speaker 1: I mean it was there's just a language that we 273 00:15:21,680 --> 00:15:25,880 Speaker 1: could all, you know, understand, and that was wonderful to 274 00:15:26,080 --> 00:15:28,400 Speaker 1: communicate in and look in the end of the day, 275 00:15:28,400 --> 00:15:31,360 Speaker 1: it got our feelings out and we were able to 276 00:15:31,400 --> 00:15:34,680 Speaker 1: be passionate and sort of loving and you know, exciting 277 00:15:34,840 --> 00:15:37,840 Speaker 1: people because you know, we had this, we had good lighting. 278 00:15:40,880 --> 00:15:42,400 Speaker 1: How did you fall in love with musicals? Like? Your 279 00:15:42,400 --> 00:15:44,480 Speaker 1: parents were both folk musicians, So where did the love 280 00:15:44,480 --> 00:15:46,840 Speaker 1: of musicals come from? I would visit my dad and 281 00:15:46,880 --> 00:15:52,440 Speaker 1: we would go see musicals and York New York, New York, 282 00:15:52,520 --> 00:15:56,720 Speaker 1: and we go to Annie and Barnum and Cats and stuff. 283 00:15:56,760 --> 00:15:59,080 Speaker 1: So it was really through him. And then I developed 284 00:15:59,080 --> 00:16:04,560 Speaker 1: a real passion for Cole Porter especially and those very 285 00:16:04,600 --> 00:16:07,640 Speaker 1: famous the El Fitzgerald records when she would do the 286 00:16:07,680 --> 00:16:11,640 Speaker 1: songbook albums, you know, classic. Yeah, and so I would 287 00:16:11,720 --> 00:16:14,640 Speaker 1: listen to those songs, which were often from musical shows 288 00:16:14,720 --> 00:16:17,320 Speaker 1: and and uh and then do a little research here 289 00:16:17,320 --> 00:16:20,520 Speaker 1: and there. I would think that somebody like with with 290 00:16:20,560 --> 00:16:23,480 Speaker 1: a love of musicals and theater and all that, and 291 00:16:23,520 --> 00:16:28,040 Speaker 1: with also the widely emotional voice that you have with 292 00:16:28,120 --> 00:16:30,320 Speaker 1: so much range to it, could have thought about pursuing 293 00:16:30,400 --> 00:16:33,720 Speaker 1: theater as a curer. Did you ever think about that? Hm? 294 00:16:33,840 --> 00:16:36,520 Speaker 1: I mean I didn't want. I wanted to write the material, 295 00:16:37,080 --> 00:16:39,120 Speaker 1: But I am writing. I mean, I've written a musical 296 00:16:39,200 --> 00:16:43,440 Speaker 1: now that will actually be uh premiered um in about 297 00:16:43,480 --> 00:16:45,680 Speaker 1: a year or so. I can't really say anything about it, 298 00:16:45,680 --> 00:16:49,160 Speaker 1: but yes, I am definitely aiming to everything about I know, 299 00:16:49,360 --> 00:16:51,000 Speaker 1: I know, I know, and and it's and it's got 300 00:16:51,120 --> 00:16:54,040 Speaker 1: a great story, and there's it's with a great sort 301 00:16:54,080 --> 00:16:58,040 Speaker 1: of team and and you will know more about it. 302 00:16:58,080 --> 00:17:00,240 Speaker 1: But I mean, certainly now, you know, with the Udie 303 00:17:00,240 --> 00:17:04,119 Speaker 1: Garland shows celebrating her one birthday and and singing a 304 00:17:04,119 --> 00:17:07,920 Speaker 1: lot of those you know, classic musical songs, and and 305 00:17:07,920 --> 00:17:12,200 Speaker 1: and and also I mean with her especially um, I 306 00:17:12,320 --> 00:17:15,280 Speaker 1: was like just head over heels in love with movie musicals. 307 00:17:15,320 --> 00:17:17,080 Speaker 1: You know. For me, I didn't want to be on 308 00:17:17,359 --> 00:17:19,920 Speaker 1: you know, the stage necessarily in a musical. I wanted 309 00:17:19,920 --> 00:17:23,040 Speaker 1: to be on a sound stage, you know, with you know, 310 00:17:23,800 --> 00:17:27,720 Speaker 1: thousands of people surrounding me and you know, fountains and 311 00:17:28,440 --> 00:17:30,879 Speaker 1: thunderclaps and everything. So that was sort of more what 312 00:17:31,000 --> 00:17:35,000 Speaker 1: I was susceptible to. Well, there's the glamor of it, 313 00:17:35,040 --> 00:17:36,879 Speaker 1: but there's also I think the music, Like what was 314 00:17:36,920 --> 00:17:39,600 Speaker 1: it about the music that Judy Garland saying that made 315 00:17:39,720 --> 00:17:42,320 Speaker 1: you want to take it on? Yeah? Well, I think 316 00:17:42,359 --> 00:17:46,919 Speaker 1: with her especially, it was this insane and I'm speaking 317 00:17:46,960 --> 00:17:50,359 Speaker 1: about her her movies now and the musicals, this insane 318 00:17:50,680 --> 00:17:54,240 Speaker 1: kind of laser beam of strength that where all of 319 00:17:54,280 --> 00:17:58,720 Speaker 1: these elements suddenly were mushed together, you know, whether it 320 00:17:58,800 --> 00:18:02,280 Speaker 1: was her incredible singing, an incredible song, the great lighting, 321 00:18:02,280 --> 00:18:04,280 Speaker 1: I mean the light, even though I say lighting in 322 00:18:04,320 --> 00:18:06,199 Speaker 1: a kind of funny way though you can't, but that 323 00:18:06,280 --> 00:18:09,560 Speaker 1: Hollywood lighting was just so other worldly, and then the 324 00:18:09,600 --> 00:18:12,520 Speaker 1: great costumes and the great choreographer, and it would all 325 00:18:12,600 --> 00:18:15,359 Speaker 1: come together in this sort of blinding ray of light 326 00:18:15,640 --> 00:18:19,520 Speaker 1: and just devastate anyone who even came within, you know, 327 00:18:19,880 --> 00:18:22,280 Speaker 1: an inch of it. So I was very seduced by that. 328 00:18:22,359 --> 00:18:25,520 Speaker 1: And of course the music was really top of the list. 329 00:18:25,640 --> 00:18:28,919 Speaker 1: I mean, I mean in the sense that the songwriters 330 00:18:28,960 --> 00:18:31,000 Speaker 1: at that time, and a lot of them did write musicals, 331 00:18:31,040 --> 00:18:34,240 Speaker 1: you know, Irving Berlin and and uh Coal Porter and 332 00:18:34,280 --> 00:18:37,600 Speaker 1: all of those guys. Is that they they were really 333 00:18:38,840 --> 00:18:42,800 Speaker 1: celebrated as these uh they were considered gods in a 334 00:18:42,800 --> 00:18:44,840 Speaker 1: lot of ways. And when I say God's I mean 335 00:18:44,880 --> 00:18:48,320 Speaker 1: I mean like gods, gods and goddesses more Greek style 336 00:18:48,760 --> 00:18:51,159 Speaker 1: to what everything, what everybody did. It had to be 337 00:18:51,320 --> 00:18:55,119 Speaker 1: just so seductive and so powerful and so kind of 338 00:18:56,160 --> 00:18:58,560 Speaker 1: just undeniable in a lot of ways. And there was 339 00:18:58,560 --> 00:19:00,520 Speaker 1: a sense of occasion, Like the was a sense of 340 00:19:00,520 --> 00:19:03,280 Speaker 1: occasion about everything that I think, Yah and I think 341 00:19:03,320 --> 00:19:06,240 Speaker 1: to be on stage or to be on this fell 342 00:19:06,400 --> 00:19:20,520 Speaker 1: on screen, you know, you had to be larger than life. Musician, 343 00:19:20,800 --> 00:19:25,560 Speaker 1: Rufus wayne right. If you love conversations with powerful songwriters, 344 00:19:25,840 --> 00:19:29,480 Speaker 1: check out our episode with Carly Simon. I had developed 345 00:19:29,480 --> 00:19:32,000 Speaker 1: my own voice, but with so many influences that I 346 00:19:32,000 --> 00:19:35,720 Speaker 1: hadn't I hadn't cut myself off from my influences and 347 00:19:36,400 --> 00:19:39,760 Speaker 1: made a whole me. The umbilical cord was still attached 348 00:19:39,800 --> 00:19:43,880 Speaker 1: to Odetta, was still attached to Annie Ross of Memberson Wis, 349 00:19:43,920 --> 00:19:48,000 Speaker 1: and Ross still attached to Pete Seeger To to the 350 00:19:48,040 --> 00:19:51,040 Speaker 1: various influences, I mean, I still have trouble with that. 351 00:19:52,760 --> 00:19:55,440 Speaker 1: Here the rest of the conversation with Carly Simon at 352 00:19:55,440 --> 00:19:59,000 Speaker 1: Here's the thing dot Org. After the break, Rufus shares 353 00:19:59,040 --> 00:20:02,440 Speaker 1: the special something it takes to do justice to Judy Garland. 354 00:20:06,840 --> 00:20:09,760 Speaker 1: I'm Talia Schlanger and you're listening to here's the thing 355 00:20:13,040 --> 00:20:51,320 Speaker 1: wosther yea? And that is of course somewhere over the 356 00:20:51,400 --> 00:20:55,560 Speaker 1: Rainbow from Rufus, Wayne writes new live album Rufus Does 357 00:20:55,640 --> 00:21:00,399 Speaker 1: Judy at Capital Studios. Wayne writes music often features big, 358 00:21:00,560 --> 00:21:05,879 Speaker 1: luscious instrumentation, which makes this gorgeous a cappella moment particularly unique. 359 00:21:07,080 --> 00:21:09,800 Speaker 1: There's a story behind that, and what it is is that, 360 00:21:09,840 --> 00:21:11,520 Speaker 1: I mean, that was the song that my mother and 361 00:21:11,560 --> 00:21:13,919 Speaker 1: I did together since I was a very young child. 362 00:21:14,560 --> 00:21:17,800 Speaker 1: And when I first did the big you know, tribute 363 00:21:17,800 --> 00:21:20,840 Speaker 1: shows at Carnegie Hall and at the Palladium in London. 364 00:21:21,320 --> 00:21:23,600 Speaker 1: You know, we had a big orchestra and everything, and 365 00:21:24,000 --> 00:21:27,920 Speaker 1: I for that number particularly, I had my mother come 366 00:21:27,920 --> 00:21:31,000 Speaker 1: out and accompanied me just for the beginning, you know, 367 00:21:31,040 --> 00:21:33,439 Speaker 1: and then the strings would come in and the band 368 00:21:33,480 --> 00:21:36,879 Speaker 1: and it would become more like the original. But there 369 00:21:36,920 --> 00:21:38,879 Speaker 1: was just sort of this nice moment of with the 370 00:21:38,880 --> 00:21:40,639 Speaker 1: two of us. And then sadly, you know, she passed 371 00:21:40,680 --> 00:21:44,480 Speaker 1: away from cancer at sixty three, and so it's in 372 00:21:44,520 --> 00:21:46,720 Speaker 1: a lot of ways that's sort of me, you know, 373 00:21:47,560 --> 00:21:50,880 Speaker 1: that's her, me and her together. Oh do you mean 374 00:21:50,920 --> 00:21:53,200 Speaker 1: that you're sort of like marking her absence by having 375 00:21:53,800 --> 00:21:57,399 Speaker 1: without her? Yes, yes, yeah, yeah, yeah, now that's what 376 00:21:57,440 --> 00:22:02,120 Speaker 1: it is. Yeah, yeah, you can feel that, Like I mean, 377 00:22:02,320 --> 00:22:04,840 Speaker 1: I think I know many people who have emotional connections 378 00:22:04,840 --> 00:22:07,520 Speaker 1: to that song for whatever reason. But you can really 379 00:22:07,560 --> 00:22:10,560 Speaker 1: feel the presence of something. So yeah, now that song, 380 00:22:10,600 --> 00:22:13,960 Speaker 1: I mean, look, it's been done eight billion times and 381 00:22:14,080 --> 00:22:18,160 Speaker 1: eight billion different ways, but it's it's amazing how powerful 382 00:22:18,240 --> 00:22:20,840 Speaker 1: it is and how you know, how it just it's 383 00:22:20,840 --> 00:22:24,480 Speaker 1: the gifts that keeps giving for sure. Did you perform 384 00:22:24,560 --> 00:22:28,480 Speaker 1: this album for an audience of one for Renee's Elwigger? Yes? Yes, 385 00:22:28,600 --> 00:22:32,440 Speaker 1: So what's what's it like to perform just for one? 386 00:22:34,480 --> 00:22:37,359 Speaker 1: This was a COVID measure, you know, Okay, okay, you 387 00:22:37,359 --> 00:22:42,480 Speaker 1: know it was. It stemmed from a kind of a 388 00:22:42,520 --> 00:22:44,640 Speaker 1: series of shot concerts that I did from my living 389 00:22:44,720 --> 00:22:47,159 Speaker 1: room during COVID when all my tours were canceled and 390 00:22:47,160 --> 00:22:48,960 Speaker 1: I just did shows here and we would have like 391 00:22:49,000 --> 00:22:52,359 Speaker 1: a celebrity guest for each one, and so it was 392 00:22:52,600 --> 00:22:56,840 Speaker 1: part of that that series. And did Renee win a raffle? 393 00:22:56,960 --> 00:23:01,399 Speaker 1: Is that how she ended upon Renee? We won the 394 00:23:01,480 --> 00:23:04,240 Speaker 1: raffle and Renee arrived. Really actually we did because we 395 00:23:04,240 --> 00:23:06,040 Speaker 1: would ask a lot of people and some people could, 396 00:23:06,080 --> 00:23:08,520 Speaker 1: some people couldn't, some people didn't want to, you know, 397 00:23:08,920 --> 00:23:12,120 Speaker 1: be anywhere during COVID. So it was we were very 398 00:23:12,119 --> 00:23:14,239 Speaker 1: fortunate to have her. And yeah, I know she was 399 00:23:15,480 --> 00:23:18,480 Speaker 1: totally gracious and I think really enjoyed it a lot. 400 00:23:18,720 --> 00:23:21,879 Speaker 1: And uh, she was going to maybe sing at one point, 401 00:23:21,920 --> 00:23:24,040 Speaker 1: but but then it didn't really make sense because she 402 00:23:24,080 --> 00:23:26,560 Speaker 1: had just done Judy and she had won the Oscar 403 00:23:26,600 --> 00:23:28,960 Speaker 1: for it, and and it was sort of like I 404 00:23:29,000 --> 00:23:31,439 Speaker 1: think she was ready to like be a spectator, you know, 405 00:23:31,920 --> 00:23:33,600 Speaker 1: you know, she was ready to she she didn't want 406 00:23:33,600 --> 00:23:37,200 Speaker 1: to kind of go back into Judy, which I totally understand, 407 00:23:37,200 --> 00:23:39,720 Speaker 1: you know, move on. Yeah, did you and your mom 408 00:23:39,720 --> 00:23:42,199 Speaker 1: connect over Judy when you were younger too, or just 409 00:23:42,280 --> 00:23:45,280 Speaker 1: as a grown up. I mean, I think she appreciated 410 00:23:45,359 --> 00:23:48,320 Speaker 1: Judy Garland. I think she was also aware that it was, 411 00:23:48,440 --> 00:23:53,119 Speaker 1: you know, indicative of some other things, you mean in 412 00:23:53,200 --> 00:23:55,320 Speaker 1: terms of me, you know, loving Judy Garland. It's like, 413 00:23:55,359 --> 00:23:57,760 Speaker 1: oh my god, you know, my son is not going 414 00:23:57,800 --> 00:24:00,359 Speaker 1: to be a football player. She was nervous us about 415 00:24:00,359 --> 00:24:01,800 Speaker 1: a lot of that stuff, you know that I was 416 00:24:01,840 --> 00:24:04,840 Speaker 1: gay and so I think it was accepted, but but 417 00:24:04,920 --> 00:24:10,280 Speaker 1: also not necessarily encouraged. She wasn't against it or anything, 418 00:24:10,320 --> 00:24:12,199 Speaker 1: but it was you know, once again, it was a 419 00:24:12,240 --> 00:24:15,520 Speaker 1: different world being gay back in the eighties. Was was 420 00:24:15,640 --> 00:24:18,800 Speaker 1: very different. But but she appreciated her artistry and she 421 00:24:18,840 --> 00:24:20,600 Speaker 1: loves the song, but she was more of she was 422 00:24:20,640 --> 00:24:22,600 Speaker 1: really more of a rock and roll person. My mother 423 00:24:22,680 --> 00:24:26,080 Speaker 1: loved you know, Bob Dylan and the Rolling Stones and 424 00:24:26,119 --> 00:24:28,840 Speaker 1: people like that. I'm curious about what it was like 425 00:24:28,880 --> 00:24:32,120 Speaker 1: to come out to your mom at that time. Yeah, 426 00:24:32,119 --> 00:24:34,040 Speaker 1: I know, it was. It was. It was intense. It 427 00:24:34,119 --> 00:24:37,720 Speaker 1: was intense. I was only thirteen, so so you know, 428 00:24:37,840 --> 00:24:40,000 Speaker 1: so so and that was very rare at that time, 429 00:24:40,080 --> 00:24:43,280 Speaker 1: and AIDS was everywhere, and so it was. It was 430 00:24:43,320 --> 00:24:47,000 Speaker 1: a heavy duty time. But we got through it, thankfully. 431 00:24:47,359 --> 00:24:50,120 Speaker 1: Were you scared at that time too, for like, did 432 00:24:50,119 --> 00:24:52,320 Speaker 1: you have an awareness all the time? You know, I 433 00:24:52,359 --> 00:24:55,880 Speaker 1: was scared shitless, you know, of what was going on 434 00:24:56,080 --> 00:25:00,119 Speaker 1: with with AIDS and and everything and h so it 435 00:25:00,240 --> 00:25:02,240 Speaker 1: was everybody, it was. It was. It was like a 436 00:25:02,359 --> 00:25:05,440 Speaker 1: very dark period, which I mean we're in a dark 437 00:25:05,480 --> 00:25:10,240 Speaker 1: period now, but yeah, the AIDS epidemic was pretty bad. 438 00:25:10,760 --> 00:25:13,879 Speaker 1: I grew up in theater and working in theater. And 439 00:25:13,920 --> 00:25:16,840 Speaker 1: my first roommate was a gay guy who was he 440 00:25:16,920 --> 00:25:19,320 Speaker 1: was in his twenties. I was seventeen, and he and 441 00:25:19,400 --> 00:25:21,679 Speaker 1: his friends sort of showed me how to live and 442 00:25:21,680 --> 00:25:25,040 Speaker 1: showed me adults. And we were in Toronto, which is 443 00:25:25,119 --> 00:25:28,400 Speaker 1: quite different, but we you know, I got a sense 444 00:25:28,400 --> 00:25:31,960 Speaker 1: of it. We've lost friends in our friend group to 445 00:25:32,920 --> 00:25:37,520 Speaker 1: complications studio HIV, and it's so real and and it's 446 00:25:37,520 --> 00:25:40,960 Speaker 1: so recent, like it's kind of amazing to make it 447 00:25:41,040 --> 00:25:44,639 Speaker 1: out of that time safely. Yeah, yeah, no, it is. 448 00:25:44,720 --> 00:25:46,639 Speaker 1: It is, and and it is and it's somewhat of 449 00:25:46,680 --> 00:25:49,199 Speaker 1: a miracle, I have to say, because I was, I was. 450 00:25:49,320 --> 00:25:53,760 Speaker 1: I had some pretty dicey periods at certain points. Um, 451 00:25:54,200 --> 00:25:57,639 Speaker 1: but you know it is look I mean, and maybe 452 00:25:57,720 --> 00:26:00,240 Speaker 1: with Judy too, and and and in a strange way 453 00:26:00,280 --> 00:26:02,200 Speaker 1: with those songs. And also you know, she's going to 454 00:26:02,280 --> 00:26:04,520 Speaker 1: be she would have been a hundred you know that 455 00:26:04,520 --> 00:26:07,960 Speaker 1: that's the June tenth is I'm performing, you know, City 456 00:26:07,960 --> 00:26:11,480 Speaker 1: Winery for her birthday and and and doing some of 457 00:26:11,480 --> 00:26:14,680 Speaker 1: this out, doing her a lot of these songs. And 458 00:26:15,840 --> 00:26:18,680 Speaker 1: even though she died at a very young age and 459 00:26:18,760 --> 00:26:21,760 Speaker 1: she was obviously a victim of addiction and so forth. 460 00:26:22,040 --> 00:26:24,200 Speaker 1: There's something in her voice that gave a lot of 461 00:26:24,240 --> 00:26:28,359 Speaker 1: strength to people and really helped Soldier on through you know, 462 00:26:29,119 --> 00:26:34,040 Speaker 1: really impossible odds. Yeah, and we need honesty from our 463 00:26:34,720 --> 00:26:37,960 Speaker 1: from our artists. Yeah, that's something I've always admired about 464 00:26:38,000 --> 00:26:41,560 Speaker 1: your writing. Like, I'm such a long long time fan 465 00:26:41,600 --> 00:26:43,760 Speaker 1: of yours, And I think one thing when I was 466 00:26:43,760 --> 00:26:45,119 Speaker 1: getting ready to talk to you today that I was 467 00:26:45,160 --> 00:26:50,080 Speaker 1: thinking about is like having these really big, grand arrangements, Um, 468 00:26:50,280 --> 00:26:53,479 Speaker 1: you have to have a real emotional truth to what 469 00:26:53,520 --> 00:26:56,399 Speaker 1: you're saying for that to all make sense in land 470 00:26:56,520 --> 00:26:59,840 Speaker 1: and not feel over the topic, to feel real. Is 471 00:26:59,840 --> 00:27:02,000 Speaker 1: that something you think about in your Well, I have 472 00:27:02,080 --> 00:27:04,239 Speaker 1: to say, I have to say with this album, I 473 00:27:04,280 --> 00:27:07,520 Speaker 1: strongly believe that that is one of the its greatest assets, 474 00:27:07,600 --> 00:27:12,959 Speaker 1: is that this whole judy you know, phantasmagoria beforehand, with 475 00:27:13,040 --> 00:27:15,679 Speaker 1: the Carnegie Hall and the orchestra and the you know, 476 00:27:15,720 --> 00:27:18,240 Speaker 1: the big arrangements and everything. That's great and I love 477 00:27:18,280 --> 00:27:20,560 Speaker 1: doing that and I will do that again, but there's 478 00:27:20,600 --> 00:27:23,520 Speaker 1: something impairing it all down and really going back to 479 00:27:23,560 --> 00:27:27,400 Speaker 1: the essentials and and and also really having it leaned 480 00:27:27,440 --> 00:27:31,399 Speaker 1: mostly on my interpretations as a singer and as an artist. 481 00:27:31,880 --> 00:27:34,600 Speaker 1: There's a brutality to it, which is good. It's much 482 00:27:34,640 --> 00:27:37,800 Speaker 1: more fierce. And now I've sung those songs for many years, 483 00:27:37,840 --> 00:27:40,760 Speaker 1: you know, Like when I made my album, the Judy Album, 484 00:27:41,359 --> 00:27:43,960 Speaker 1: almost twenty years ago, I didn't know a lot of 485 00:27:43,960 --> 00:27:46,199 Speaker 1: that material very well. But now I've it's really in 486 00:27:46,320 --> 00:27:48,760 Speaker 1: my body and and and and I just have to 487 00:27:48,840 --> 00:27:52,080 Speaker 1: sort of I could do it all a cappella. It's 488 00:27:52,119 --> 00:27:55,520 Speaker 1: hard to sing like that stuff is not easy to sing. 489 00:27:55,680 --> 00:27:59,000 Speaker 1: It requires a huge range, right, Yeah, Well, it's just 490 00:27:59,320 --> 00:28:02,399 Speaker 1: I think it re wires and intelligence. Not not that 491 00:28:02,440 --> 00:28:06,280 Speaker 1: I'm smart really, because I'm actually quite dumb in a 492 00:28:06,280 --> 00:28:09,399 Speaker 1: lot of ways. But musically you have to sort of, 493 00:28:09,440 --> 00:28:12,400 Speaker 1: really I don't. You have to inhabit both the lyrics 494 00:28:12,440 --> 00:28:15,760 Speaker 1: and the melody and and and sort of really interpret 495 00:28:15,800 --> 00:28:19,040 Speaker 1: them in a way that that the listener is very much, 496 00:28:19,640 --> 00:28:23,040 Speaker 1: you know, taken away into this other world. And all 497 00:28:23,280 --> 00:28:27,320 Speaker 1: those great songs have the ability to do that. Good. 498 00:28:27,400 --> 00:28:33,879 Speaker 1: That's and Chuck Rufus Wayne, Right, If you're enjoying this episode, 499 00:28:33,920 --> 00:28:36,639 Speaker 1: don't keep it to yourself, Tell a friend, and be 500 00:28:36,760 --> 00:28:39,400 Speaker 1: sure to follow us on the I Heart Radio app 501 00:28:39,600 --> 00:28:43,880 Speaker 1: Apple podcasts or wherever you get your podcasts. When we return, 502 00:28:44,160 --> 00:28:47,320 Speaker 1: Rufus Wayne Wright shares his thoughts on how fatherhood has 503 00:28:47,400 --> 00:29:07,160 Speaker 1: changed him. I'm Talia s Langer and you're listening to 504 00:29:07,320 --> 00:29:10,960 Speaker 1: here's the thing. I'm going to a town that it's 505 00:29:11,040 --> 00:29:20,840 Speaker 1: already been. I'm going to place it is already been describe. 506 00:29:24,240 --> 00:29:28,440 Speaker 1: I'm gonna see some folks who have already been let down. 507 00:29:29,440 --> 00:29:36,320 Speaker 1: I'm so tired of America. That's Rufus Waynewright performing going 508 00:29:36,400 --> 00:29:39,280 Speaker 1: to a Town. From his two thousand and seven album 509 00:29:39,480 --> 00:29:44,480 Speaker 1: release The Stars, Wayne writes, wide ranging style is impossible 510 00:29:44,520 --> 00:29:47,600 Speaker 1: to pigeonhole for a musician who has straddled so many 511 00:29:47,640 --> 00:29:51,080 Speaker 1: styles and had such a long career, I was curious 512 00:29:51,160 --> 00:29:54,440 Speaker 1: who his fans are today, who he sees when he 513 00:29:54,480 --> 00:29:58,680 Speaker 1: looks out at the crowd. Well, it depends where I am, 514 00:29:58,720 --> 00:30:00,800 Speaker 1: you know. I especially in Europe, I got a good 515 00:30:00,800 --> 00:30:04,760 Speaker 1: sense of that. Where you know, in certain places it 516 00:30:04,760 --> 00:30:07,000 Speaker 1: will all be people my age or older, and then 517 00:30:07,000 --> 00:30:08,800 Speaker 1: other places there'll be a lot of young people. Like 518 00:30:08,840 --> 00:30:10,920 Speaker 1: in Spain, for instance, there's still a lot of young 519 00:30:10,960 --> 00:30:13,880 Speaker 1: people who come to see me. A lot of women, 520 00:30:14,280 --> 00:30:17,440 Speaker 1: a lot of women, uh, and a lot of straight guys. 521 00:30:17,800 --> 00:30:20,880 Speaker 1: The gays are a little harder to pin down as usual. 522 00:30:21,920 --> 00:30:24,760 Speaker 1: What do you mean, they're just a little more Uh, 523 00:30:24,800 --> 00:30:29,960 Speaker 1: they're very into the flavor of the month. You knows, 524 00:30:30,400 --> 00:30:32,520 Speaker 1: they're fair weather fans. I mean, they know who I am, 525 00:30:32,600 --> 00:30:35,880 Speaker 1: and they come occasionally and they've enjoyed their time, and 526 00:30:35,880 --> 00:30:39,840 Speaker 1: they they've noted my existence. But it's not they're not 527 00:30:39,880 --> 00:30:43,400 Speaker 1: particularly loyal, which you know, is kind of part of 528 00:30:43,440 --> 00:30:47,720 Speaker 1: being a gay person sometimes, okay, man, especially not that 529 00:30:47,840 --> 00:30:50,960 Speaker 1: if the lesbians is the opposite, they're like the most loyal. 530 00:30:50,960 --> 00:30:54,760 Speaker 1: I mean, they're with you till the bitter end. That's interesting. 531 00:30:54,840 --> 00:30:58,000 Speaker 1: Do you think that you're being out has affected your 532 00:30:58,040 --> 00:31:00,680 Speaker 1: career in one way or the other? Yeah, I know 533 00:31:00,880 --> 00:31:04,400 Speaker 1: very much. I mean I think it's given me um 534 00:31:04,440 --> 00:31:08,960 Speaker 1: a kind of I don't know, it's been an interesting ride. 535 00:31:08,960 --> 00:31:12,800 Speaker 1: I mean, I I think fundamentally, I'm very happy with 536 00:31:12,840 --> 00:31:17,240 Speaker 1: my decision and my story and my career and my 537 00:31:17,720 --> 00:31:22,120 Speaker 1: legacy are are firmly kind of established and rooted. I 538 00:31:22,160 --> 00:31:25,280 Speaker 1: do think I lost a lot of opportunities along the 539 00:31:25,320 --> 00:31:27,720 Speaker 1: way that could have maybe made me i don't know, 540 00:31:27,800 --> 00:31:32,400 Speaker 1: more mainstream or you know, more maybe more money and stuff. 541 00:31:32,400 --> 00:31:34,680 Speaker 1: But at the end of the yeah, oh yeah, totally. 542 00:31:34,840 --> 00:31:37,560 Speaker 1: But funnily enough, I think I actually dodged a bullet 543 00:31:37,600 --> 00:31:40,520 Speaker 1: because if I, you know, I'm I'm not hounded all 544 00:31:40,520 --> 00:31:43,640 Speaker 1: the time. I have privacy. I can do what I 545 00:31:43,680 --> 00:31:45,480 Speaker 1: want to do, you know, I'm not sort of slave, 546 00:31:45,560 --> 00:31:49,000 Speaker 1: a slave to this show business piece that that. I 547 00:31:49,040 --> 00:31:52,080 Speaker 1: think people who are are a few notches up for 548 00:31:52,160 --> 00:31:55,400 Speaker 1: me have to contend with ya. Did anybody ever try 549 00:31:55,440 --> 00:31:58,640 Speaker 1: to make you keep that? Oh? Yeah, I know they 550 00:31:58,640 --> 00:32:01,400 Speaker 1: would often say, like, oh, money, just pretend you're bisexual, 551 00:32:02,240 --> 00:32:03,640 Speaker 1: like when I you know, when I would say it, 552 00:32:04,480 --> 00:32:06,680 Speaker 1: or that you're are just not talk about it. Yeah, 553 00:32:06,680 --> 00:32:09,000 Speaker 1: when I look, when I started, it was nobody was 554 00:32:09,040 --> 00:32:11,360 Speaker 1: doing it. I mean it was and I was in 555 00:32:11,400 --> 00:32:14,480 Speaker 1: the mainstream. I was signed to a major label and 556 00:32:14,840 --> 00:32:17,880 Speaker 1: you know, doing big shows. And I was very honest 557 00:32:17,920 --> 00:32:21,120 Speaker 1: about my sexuality, which was completely unusual at that time, 558 00:32:21,240 --> 00:32:24,520 Speaker 1: especially for men, because at that time there were people 559 00:32:24,600 --> 00:32:28,120 Speaker 1: like Melissa Ethridge and Katie Lang had kind of come 560 00:32:28,120 --> 00:32:30,360 Speaker 1: out of the closet a bit. So it was kind 561 00:32:30,360 --> 00:32:32,760 Speaker 1: of happening, but it was, but that was more of 562 00:32:32,800 --> 00:32:35,240 Speaker 1: a sort of how can I say this? I would 563 00:32:35,320 --> 00:32:36,880 Speaker 1: say it was a thing but it was sort of 564 00:32:37,440 --> 00:32:41,080 Speaker 1: it was less dangerous I think than a gay man, 565 00:32:41,680 --> 00:32:45,040 Speaker 1: which is interesting. But then afterwards, you know, it became 566 00:32:45,480 --> 00:32:48,280 Speaker 1: more common. Do you think that the music industry has 567 00:32:48,360 --> 00:32:52,840 Speaker 1: changed at all when it comes to welcoming people of all. Yeah, 568 00:32:52,840 --> 00:32:54,840 Speaker 1: I mean I do actually feel that in the music 569 00:32:54,880 --> 00:32:58,440 Speaker 1: business it's more it's you know, with people like Little 570 00:32:58,520 --> 00:33:03,600 Speaker 1: Nasax and Troy Savon, and yes, there's a foothold now 571 00:33:03,680 --> 00:33:06,200 Speaker 1: that exists. And I think even after you know, the 572 00:33:06,200 --> 00:33:09,960 Speaker 1: death of of George Michael, which was you know, he 573 00:33:10,000 --> 00:33:13,160 Speaker 1: obviously struggled so much with his demons, and so there's 574 00:33:13,200 --> 00:33:15,320 Speaker 1: kind of I don't know, it's it's more embedded at 575 00:33:15,360 --> 00:33:18,000 Speaker 1: this point. I think in Hollywood and then acting thing, 576 00:33:18,000 --> 00:33:20,920 Speaker 1: it's completely still out to lunch. I mean, I mean 577 00:33:20,920 --> 00:33:23,960 Speaker 1: there's it's why is there not one leading man who's gay, 578 00:33:24,800 --> 00:33:28,000 Speaker 1: really like a leading you know, not one you know 579 00:33:28,160 --> 00:33:31,560 Speaker 1: still and uh, I mean they kind of toy with it, 580 00:33:31,680 --> 00:33:33,880 Speaker 1: but but there I think in in Hollywood, it's in 581 00:33:33,920 --> 00:33:36,320 Speaker 1: the in the movie business and stuff, it's it's still 582 00:33:36,360 --> 00:33:40,480 Speaker 1: a big problem. I'm thinking about. So ships created this 583 00:33:40,480 --> 00:33:42,800 Speaker 1: like a wonderful show created by Eugene Levy and his 584 00:33:42,880 --> 00:33:45,720 Speaker 1: son Dan Levy And as you're saying the same thing 585 00:33:45,800 --> 00:33:50,520 Speaker 1: about the finale episode, which was considered groundbreaking, you know 586 00:33:50,760 --> 00:33:53,760 Speaker 1: in the last couple of years where the Dan Levy's 587 00:33:53,840 --> 00:33:58,320 Speaker 1: character marries a man and it was just this really beautiful, 588 00:33:58,480 --> 00:34:04,080 Speaker 1: touching wedding ceremony and to to watch and Dan, did 589 00:34:04,080 --> 00:34:07,200 Speaker 1: you see Dan Levy's mom's tweet. She tweeted today, I 590 00:34:07,280 --> 00:34:10,960 Speaker 1: regret every single second of worry back in the uninformed eighties, 591 00:34:11,480 --> 00:34:13,560 Speaker 1: wondering how the world was going to treat my brilliant 592 00:34:13,560 --> 00:34:15,920 Speaker 1: little boy who loved to twirl. Little did I know 593 00:34:16,000 --> 00:34:18,000 Speaker 1: that he was going to kick that old world's asked 594 00:34:18,000 --> 00:34:22,240 Speaker 1: to the curb and create a brand new one. That's great, 595 00:34:22,280 --> 00:34:25,680 Speaker 1: that's wonderful. Yeah, But I think that that's part of like, 596 00:34:25,920 --> 00:34:28,360 Speaker 1: I'm grateful to you for being who you are and 597 00:34:28,400 --> 00:34:29,839 Speaker 1: doing it in the way that you do it, because 598 00:34:29,880 --> 00:34:32,600 Speaker 1: I think it gives other people license to be themselves 599 00:34:32,640 --> 00:34:36,160 Speaker 1: and to see that that's that's the way, Like, that's 600 00:34:36,200 --> 00:34:37,680 Speaker 1: not only the way to live, that's also the way 601 00:34:37,719 --> 00:34:39,320 Speaker 1: to create art. That's the way to achieve your dreams. 602 00:34:39,320 --> 00:34:41,680 Speaker 1: That's that's the way to do all of this. Yes, yes, well, 603 00:34:41,680 --> 00:34:45,480 Speaker 1: thank you so much. It's a really beautiful thing. How um, 604 00:34:45,960 --> 00:34:47,719 Speaker 1: I'm curious to know if your daughter is interested in 605 00:34:47,800 --> 00:34:50,080 Speaker 1: music at all. Now, Yeah, I know she is. She 606 00:34:50,280 --> 00:34:53,279 Speaker 1: she sings and she's interested in it, but she's also 607 00:34:53,320 --> 00:34:58,880 Speaker 1: interested in her nails and and her hair and her friends. 608 00:34:59,000 --> 00:35:01,920 Speaker 1: And you know, it's not it's not. There's a whole 609 00:35:01,960 --> 00:35:05,279 Speaker 1: wide variety of interest there. How do you balance like 610 00:35:05,560 --> 00:35:09,239 Speaker 1: fatherhood and being there for your kid with all of 611 00:35:09,239 --> 00:35:11,719 Speaker 1: these demands, and and also like writing before you're getting 612 00:35:11,719 --> 00:35:13,600 Speaker 1: out on stage on tour, all of the stuff that 613 00:35:13,640 --> 00:35:16,520 Speaker 1: you do right right now, I just do it. Thankfully. 614 00:35:16,560 --> 00:35:19,120 Speaker 1: I have the time, and I also have the great 615 00:35:19,160 --> 00:35:21,920 Speaker 1: the support. I mean, I have a great husband, Yourn, 616 00:35:22,120 --> 00:35:24,760 Speaker 1: and who's also my manager as well, so that's really 617 00:35:24,800 --> 00:35:28,000 Speaker 1: helpful because he can really understand, you know, the tight 618 00:35:28,120 --> 00:35:32,000 Speaker 1: rope that has to be walked. And and once again, 619 00:35:32,000 --> 00:35:36,120 Speaker 1: I mean, I'm not super famous in the sense that 620 00:35:36,200 --> 00:35:38,399 Speaker 1: you know, I can have privacy, I can I can 621 00:35:38,440 --> 00:35:41,480 Speaker 1: have downtime. I'm not hounded like all those people like 622 00:35:41,560 --> 00:35:43,880 Speaker 1: Lady Gaga and stuff. I mean that that in itself 623 00:35:43,920 --> 00:35:46,359 Speaker 1: becomes its own job, and that to me would be 624 00:35:46,400 --> 00:35:50,680 Speaker 1: this just like a bloody nightmare. So yeah, didn't becoming 625 00:35:50,680 --> 00:35:52,520 Speaker 1: a dad yourself changed the way that you think about 626 00:35:52,520 --> 00:35:56,520 Speaker 1: your own dad when you're growing up. Yeah, I mean somewhat, 627 00:35:56,600 --> 00:35:59,640 Speaker 1: some much somewhat. But you have to try to forgive 628 00:35:59,640 --> 00:36:02,960 Speaker 1: your parents. It's regardless of whether you understand it or not. 629 00:36:04,160 --> 00:36:06,120 Speaker 1: Is there anything that you learned from him as a 630 00:36:06,200 --> 00:36:07,959 Speaker 1: dad that you want to pass on to your daughter. 631 00:36:08,560 --> 00:36:12,480 Speaker 1: He's funny. He has a good sense of humor. Yes, 632 00:36:12,520 --> 00:36:14,480 Speaker 1: he has an amazing sense of humor. Actually, he's right. 633 00:36:14,560 --> 00:36:16,719 Speaker 1: He really knows how to make my daughter laugh, and 634 00:36:16,760 --> 00:36:18,719 Speaker 1: that's very important. And when I say laugh, I mean 635 00:36:18,800 --> 00:36:22,600 Speaker 1: really laugh. He's he's a he's a brilliant wit and 636 00:36:23,280 --> 00:36:26,839 Speaker 1: I I admire him for that. You've written so much 637 00:36:26,880 --> 00:36:32,279 Speaker 1: about craving and longing and desire in your career. And 638 00:36:32,920 --> 00:36:35,839 Speaker 1: I'm thinking about the album Want One and the song 639 00:36:35,960 --> 00:36:54,960 Speaker 1: want where you wrote but just want to Dreams? What 640 00:36:55,040 --> 00:36:58,920 Speaker 1: do you want now? Now? What do I want? A 641 00:36:59,120 --> 00:37:02,200 Speaker 1: good question, you know, speaking of Broadway, I actually would 642 00:37:02,239 --> 00:37:06,040 Speaker 1: like to conquer Broadway. It's very simple. I spent you know, 643 00:37:06,120 --> 00:37:09,319 Speaker 1: during COVID, and this idea to write this musical came 644 00:37:09,400 --> 00:37:12,040 Speaker 1: up and I did it and uh and and now 645 00:37:12,040 --> 00:37:15,600 Speaker 1: we're very much in the process of you know, producing 646 00:37:15,960 --> 00:37:19,920 Speaker 1: the theater piece and and getting you casting and stuff 647 00:37:19,960 --> 00:37:22,960 Speaker 1: like that. And I do actually see a real opening 648 00:37:23,000 --> 00:37:26,920 Speaker 1: for me in terms of really being able to gain 649 00:37:27,320 --> 00:37:30,000 Speaker 1: from all the experiences I've had in the past through 650 00:37:30,080 --> 00:37:32,400 Speaker 1: opera or through you know, my love of Judy Garland, 651 00:37:32,480 --> 00:37:36,680 Speaker 1: I can kind of infuse uh, this Broadway dream with 652 00:37:36,760 --> 00:37:39,920 Speaker 1: that knowledge. So I'm very excited to actually go full 653 00:37:40,239 --> 00:37:42,040 Speaker 1: on a head into that. That's what I want. I 654 00:37:42,040 --> 00:37:45,520 Speaker 1: want to conquer Broadway and the West End Broadway. Yeah, 655 00:37:45,600 --> 00:37:49,600 Speaker 1: let's just keep it simple. Dream. That's what they always think. 656 00:37:50,040 --> 00:37:52,439 Speaker 1: But what is it that drives you to conquer these 657 00:37:52,520 --> 00:37:55,439 Speaker 1: new territories after so much time? What is it? Well? 658 00:37:55,440 --> 00:37:57,600 Speaker 1: I you know, look, it's funny because it's not I 659 00:37:57,760 --> 00:38:00,120 Speaker 1: never wanted to conquer. For instance, I never wanted to 660 00:38:00,160 --> 00:38:02,839 Speaker 1: conquer the opera world, and I and I didn't. I mean, 661 00:38:02,840 --> 00:38:07,800 Speaker 1: I wrote two very beautiful operas and they've done very well, 662 00:38:07,840 --> 00:38:10,840 Speaker 1: and they're very appreciated, and they're being produced, and but 663 00:38:10,920 --> 00:38:13,080 Speaker 1: it's not like I'm not like that. I'm not like 664 00:38:13,120 --> 00:38:15,960 Speaker 1: the leading composer of upper or anything. And in terms 665 00:38:16,040 --> 00:38:19,120 Speaker 1: of singing the Judy stuff, I never I just did 666 00:38:19,160 --> 00:38:21,759 Speaker 1: that because I thought it would be fun. But with 667 00:38:21,920 --> 00:38:25,080 Speaker 1: the Broadway West End stuff that I do want to conquer, 668 00:38:25,800 --> 00:38:28,799 Speaker 1: that is a more of a blood sport. So I'm 669 00:38:29,040 --> 00:38:33,160 Speaker 1: embarking on that journey now. I've already already have actually 670 00:38:33,280 --> 00:38:35,400 Speaker 1: so well, I'm going to wish you well with it. 671 00:38:35,480 --> 00:38:39,600 Speaker 1: I cannot wait to hear what comes of it. Yeah, well, 672 00:38:39,640 --> 00:38:45,120 Speaker 1: thank you, thank you, my phone, my thanks to singer, 673 00:38:45,200 --> 00:38:49,520 Speaker 1: songwriter and opera composer Rufus Wayne Right. You can see 674 00:38:49,560 --> 00:38:52,760 Speaker 1: him live all over the US and Europe in two 675 00:38:52,960 --> 00:38:55,120 Speaker 1: and if you're in New York you can catch him 676 00:38:55,160 --> 00:38:58,160 Speaker 1: at City Winery. He has four dates they're starting June five. 677 00:38:58,800 --> 00:39:01,759 Speaker 1: I'll leave you with Rufus is Owed to Love in 678 00:39:01,800 --> 00:39:05,600 Speaker 1: the modern world. This is Vibrate from one one. I'm 679 00:39:05,640 --> 00:39:09,560 Speaker 1: Talia Schlanger. Alec Baldwin will be back next week. Here's 680 00:39:09,600 --> 00:39:11,640 Speaker 1: the thing, is brought to you by I Heart Radio, 681 00:39:13,200 --> 00:39:23,080 Speaker 1: my phones on fard F. Goodness, what all these new 682 00:39:23,960 --> 00:39:35,000 Speaker 1: drunks to I guess to have no? What's still loud