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Speaker 1: The Quest Loft Show is a production of iHeart Radio.

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Speaker 1: Ladies and gentlemen, Welcome to the Quest Loft Show. What

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Speaker 1: can I Say? In nineteen seventy two, at the ripe

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Speaker 1: age of fifteen, our guest today took my dream job.

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Speaker 1: But being as though I was just a year old

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Speaker 1: and unable to read, or write or form sentences or thoughts,

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Speaker 1: I'm willing to forgive him this one time only thank you.

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Speaker 1: But I will say during this period he will have

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Speaker 1: conducted career defining both for him and the artist, career

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Speaker 1: defining interviews at Rolling Stone Magazine with the likes of

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Speaker 1: Bob Dylan, David Bowie, Elton, John Neil Young, Joni Mitchell,

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Speaker 1: led Zapplin, The Eagles, Fleetwood, Mac, The Who, and.

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Speaker 2: So on and so on and so forth.

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Speaker 1: As a filmmaker, I mean, he's pretty much, I believe,

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Speaker 1: given us the definitive movies of our day, be it

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Speaker 1: A Fast Times of Richmond, High Say Anything, Singles, Jerry Maguire,

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Speaker 1: Vanilla Sky, and for Almost Famous, of which he is

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Speaker 1: an Academy Award recipient for Best Screenplay. I mean, the

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Speaker 1: list goes on and oning. He's currently right now working

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Speaker 1: on a film based on the life of Joni Mitchell.

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Speaker 1: Right now, he is promoting his memoir of his time

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Speaker 1: as a music critic called The Uncool. Please please welcome

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Speaker 1: to the Quest Left Show QLs. Cameron Crow, how you

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Speaker 1: doing right now?

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Speaker 3: I'm good. I'm psyched to be talking with you again.

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Speaker 3: It's one of my favorite things.

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Speaker 1: Thank you, thank you. Yeah, I appreciate this. So I

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Speaker 1: had a situation last week. I was hanging with John Mayer,

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Speaker 1: and I believe that there's the idea of questlove, and

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Speaker 1: then I also believe there's the actual quest love. So

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Speaker 1: one of the most disappointing true quirks about me, kind

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Speaker 1: of in a Larry David way, is that I normally

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Speaker 1: don't talk shop with my peers. Of course, on social

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Speaker 1: media and books and films everywhere.

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Speaker 2: My entire career is a.

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Speaker 1: Giant platform for me to spew out my unsolicited thoughts

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Speaker 1: about music.

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Speaker 2: But I noticed that I.

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Speaker 1: Tend to back off and talking about music. However, being

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Speaker 1: as though this is our second conversation with each other.

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Speaker 1: He gave me the honor of doing a live Q

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Speaker 1: and A with you some time ago, and when I

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Speaker 1: walked away, I was like, wow, Like okay, So maybe

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Speaker 1: I have to rewrite that narrative and say that I

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Speaker 1: enjoy talking shop with other musicians.

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Speaker 2: It's just that sometimes, for instance.

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Speaker 1: Like I was at a party like three weeks ago,

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Speaker 1: and then someone just came up to me and said.

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Speaker 2: Coust love real quick.

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Speaker 1: The most important line that Curtis Mayfield's Ever, you know, yeah, Ever.

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Speaker 2: Said, and I'm like eating shrimp.

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Speaker 1: I'm like, and I know that's my fault because I've

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Speaker 1: led people to believe that I'm open to all music discussion.

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Speaker 2: But in this particular case.

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Speaker 1: I would imagine had I been born a decade and

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Speaker 1: a half earlier, I would have probably wound up on

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Speaker 1: your path or at some sort of level to that.

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Speaker 3: So it's the crime of you knowing so many different

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Speaker 3: corners of culture.

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Speaker 2: You know.

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Speaker 3: It's like, yeah, they'll ask you about music. They probably

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Speaker 3: checked out what the gifts you were giving during COVID,

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Speaker 3: which was very music centric. But you're like a film

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Speaker 3: guy beyond many, if not most, So your knowledge of

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Speaker 3: film is so particular. And also why it's I don't know,

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Speaker 3: there are many avenues to take.

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Speaker 1: Well, I'll ask you because I'm using no format today,

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Speaker 1: no notes or whatever, so I'll just we're just having

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Speaker 1: a conversation. Yeah, yeah, How did you know that you

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Speaker 1: were a film guy?

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Speaker 3: Because I loved film always as a kid. They my

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Speaker 3: mom and sometimes my mom and dad would sneak me

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Speaker 3: into R rated movies just because Mike Nichols. I should

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Speaker 3: know about Mike Nichols. Stuff like that, you know, David

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Speaker 3: Lean and all kinds of stuff. It just seemed like

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Speaker 3: no man's land in terms of a dream, Like I

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Speaker 3: never went to film school obviously, maybe not obviously, but

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Speaker 3: I never thought that that was accessible to a guy

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Speaker 3: from San Diego who wasn't connected in it any way.

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Speaker 3: But for some reason I had no problem walking into

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Speaker 3: a dressing room and asking a band that I loved,

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Speaker 3: like the questions that I wanted answers to. Maybe it's

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Speaker 3: because rock was a little less huge then and film

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Speaker 3: was always huge and still is huge. But once I

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Speaker 3: got a taste of it, you know, it's like it is.

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Speaker 3: It's a rush like no other. And particularly when you

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Speaker 3: show something that's been in your head for a long

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Speaker 3: time and you've written it, you've edited it, you know

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Speaker 3: this well when you finally put it in front of people,

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Speaker 3: and the shit that they pick up on it's sometimes

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Speaker 3: it's the smallest thing and they're all over it. That's

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Speaker 3: a thrill. It's a different kind of thrill than writing

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Speaker 3: rock writing particularly, But I don't know. It's like collect

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Speaker 3: as many experiences as you can was kind of my thing.

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Speaker 1: How long was it the lead up of you getting

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Speaker 1: the green light to do Fast Times? What was the

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Speaker 1: seed that was Plannet that said, you know what, after

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Speaker 1: this last article I turn in, Yeah, I'm going to

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Speaker 1: pursue film. Did you have any impostor syndrome or any

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Speaker 1: of those things? Like can I do this?

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Speaker 3: I started asking for film assignments from Rolling Stone towards

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Speaker 3: the end of like a big run that I had

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Speaker 3: from fifteen to twenty two. I started asking for film stories.

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Speaker 3: Richard Dreyfus was the first one that I did. And

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Speaker 3: Dreyfus fantastic and so different from the musicians, you know,

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Speaker 3: like just wondrously narcissistic and fun like he was at

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Speaker 3: the peak of his kind of like Close Encounters phase

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Speaker 3: and everything Jaws to Close Encounters, like Biggest Star going right,

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Speaker 3: And he he said, you know, if I do the

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Speaker 3: Rolling Stone interview, I'd like to do it differently, Like

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Speaker 3: what if you ask a lot of people who've worked

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Speaker 3: with me what they think of me, and then bring

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Speaker 3: that back to me.

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Speaker 2: He wanted an oral history.

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Speaker 3: Yeah, but he was like, bring me the oral history

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Speaker 3: of what people have said about me, and I'll respond

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Speaker 3: to it, which was wild. And so I talked to

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Speaker 3: a whole bunch of people about Richard Dreyfuss and did

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Speaker 3: this interview where I basically threw stuff to him about

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Speaker 3: things people were about him, good or bad, and he

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Speaker 3: was fucking ferocious about it. It was amazing. And the

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Speaker 3: next assignment I got that was film centric was Sissy

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Speaker 3: Spasic and that lit a fire because for daughter, it

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Speaker 3: was it was before coal miner's daughter. She had done

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Speaker 3: Carrie and bad Lands and Three Women with Altman and

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Speaker 3: you'll love this. So they say, Annie Leebowitz is going

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Speaker 3: to come with you to Equipment Texas. You can see

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Speaker 3: Sissy Equipment Texas where she's visiting her hometown and her mother.

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Speaker 3: And so I get there with Annie, who was, you know,

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Speaker 3: a titan of photography. So that was a big deal

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Speaker 3: to be hanging with Annie in Texas and we show

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Speaker 3: up to see Sissy and Sissy goes. I got to

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Speaker 3: ask you to come with me. I got a little

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Speaker 3: adventure I have to go on. They're trying to get

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Speaker 3: me to play Loretta Lynn in this movie called Coal

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Speaker 3: Miner's Daughter, and I just I can't do it. You know,

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Speaker 3: I'm not gonna do it. It's just it doesn't feel

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Speaker 3: right to me. But can you come with me to

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Speaker 3: I think New Orleans maybe, And we're gonna go to

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Speaker 3: a Loretta Lynn concert. And it's gonna be a little

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Speaker 3: rough for me because I'm gonna have to, you know,

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Speaker 3: turn her down, but we'll go. We'll get one to

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Speaker 3: go with me. And so we all went to Loretta

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Speaker 3: show and Amir, I gotta tell you, Sissy boards the

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Speaker 3: bus where Loretta is with her husband du brings Annie

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Speaker 3: and me with her. I think Loretta Lynn closed Sissy's

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Speaker 3: basic in about twelve minutes. She was so classic and

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Speaker 3: big and a big character and so warm. And then

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Speaker 3: she goes on stage and starts doing this show and

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Speaker 3: Cissy is like already putting the performance together, and so

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Speaker 3: she left committing to the part that.

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Speaker 2: Night started back out of it and.

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Speaker 3: So excited and that rhythm of how it worked, and

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Speaker 3: it was so hands on with material and discussing characters

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Speaker 3: and all that stuff. The fuse was lit. And then

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Speaker 3: I found somebody who I knew who was a rock manager,

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Speaker 3: Art Linson. I don't know if you ever met him.

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Speaker 3: He managed Nils Lofgren and Nils's group Grin and the

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Speaker 3: label was called Spin Dizzy that Art ran, so I

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Speaker 3: knew Art and Art started to be a presence in

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Speaker 3: the movie business producing Jonathan Demi and they Universal like

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Speaker 3: kind of picked up an option on Fast Times the

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Speaker 3: book and gave it to like their resident rock ish guy.

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Speaker 3: Art and Art loved the book and said, you know what,

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Speaker 3: I'm going to teach you how to write a screenplay.

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Speaker 3: You're the cheapest person we could find to do this,

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Speaker 3: and if we make it cheaply, we might be able

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Speaker 3: to sneak this movie through. And that was Fast Times. Wow,

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Speaker 3: I know. So it really was all because of rock

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Speaker 3: journalism in a way that Art said, I'm gonna teach you.

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Speaker 1: I will say that Coal Miner's daughters probably it made

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Speaker 1: an impression on me.

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Speaker 2: Like I didn't hear of Loretta Lynne.

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Speaker 1: But since that moment that I became very familiar with

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Speaker 1: her and her music and all that stuff, and so

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Speaker 1: to hear that you were there at the impetus of

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Speaker 1: it then, I mean, you know, she was still at

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Speaker 1: the height of Kerry and all that stuff. But when

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Speaker 1: you saw the end result like to make an impression

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Speaker 1: on you as far as music films are concerned or

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Speaker 1: big time.

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Speaker 3: I loved it and I thought Sissy deserved the Academy Award.

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Speaker 3: She's amazing in it. She's not pushing, she's not trying,

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Speaker 3: she just is it. And I went back and checked

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Speaker 3: that movie out not too long ago, just kind of

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Speaker 3: wanting to look at the so called BIOPI biopic and

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Speaker 3: that was definitely top five and Buddy Holly story and stuff,

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Speaker 3: but check it out. Check out Coal Miner's Daughter Sometime.

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Speaker 3: It is the slowest, easiest wade into telling the story.

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Speaker 3: It just is character. It's time and place, which you

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Speaker 3: crush in the Sly Lives. Time and place is like

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Speaker 3: so important. And I saw it and I was just like,

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Speaker 3: you know, the whole drive to have, like, my Josh,

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Speaker 3: here's the person that you're gonna see the life of.

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Speaker 3: It's like, man, you don't need it with the right pace.

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Speaker 3: It's like an invisible gas that just pulls you in.

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Speaker 3: And that's Coal Miner's.

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Speaker 2: Daughter for you.

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Speaker 1: Though, with biopics and personally, I always thought there's a

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Speaker 1: danger and telling the soup to nuts story of a

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Speaker 1: life where it's hard to really cover it all. And

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Speaker 1: I always thought that, man, why doesn't someone just talk

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Speaker 1: about a very very specific time period, Like when they

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Speaker 1: were first talking about the James Brown biopic, I said, man,

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Speaker 1: you could probably get the essence of who James Brown

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Speaker 1: is if you talk about April fourth, nineteen sixty eight,

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Speaker 1: which I would thinks this is on the fourth, It

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Speaker 1: might be the fifth of the day after, but this

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Speaker 1: is right after Martin Luther King has assassinated James Brown.

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Speaker 1: Fans know that there was a concert schedule in Boston, Massachusetts,

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Speaker 1: and every city in America is in civil unrest and

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Speaker 1: there's riots everywhere, and the mayor of Boston's like, mister Brown,

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Speaker 1: if you give us permission to broadcast this on television,

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Speaker 1: I think this will keep people in the house and watching.

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Speaker 2: You instead of destroying Boston.

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Speaker 1: And sure enough, James Brown say Boston because there were

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Speaker 1: no riots that night, because everyone was in watching and

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Speaker 1: you know, he yeah, his concerns too, Like wait a minute,

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Speaker 1: so I got to give a twice as long performance.

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Speaker 1: You're broadcasting me, you're not paying me extra money, like

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Speaker 1: he's the business part of James Brown's at work, Like

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Speaker 1: I know, like what's in this for me? Like I'm

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Speaker 1: giving the the cow for free. But I always thought, man,

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Speaker 1: if you told the story, like very specific stories instead

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Speaker 1: of the entire biopick.

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Speaker 3: Right when it's a history lesson, you lose me. If

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Speaker 3: it's characters that are not cut out human type, people

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Speaker 3: that say things, you know, that are completely dealing with

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Speaker 3: the Wikipedia issues of the artists, it's like, you lose me.

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Speaker 3: I don't know. You can do soup to nuts if

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Speaker 3: you have a reason to do soup to nuts. As

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Speaker 3: soon as they tell you soup to nuts can't be done,

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Speaker 3: someone will pull it off. But yeah, most of the

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Speaker 3: time you at that sweet spot because it's filled with

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Speaker 3: story and you don't need to You're right, I mean,

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Speaker 3: James Brown in Boston, you get it all. You get

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Speaker 3: the music, you get time and place, you get it all.

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Speaker 3: I guess it's case by case. Citizen Kane is Soup

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Speaker 3: to Nuts? Is it a biopic? Kind of? But it

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Speaker 3: tells us a greater story than sit down. I'm going

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Speaker 3: to tell you about a life with Cepia toned glimpses

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Speaker 3: of my childhood, you know.

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Speaker 1: But that's also like a first of its kind, so

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Speaker 1: I could imagine I wanted to know, like if that

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Speaker 1: were to come out in the mid Ausin, it would

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Speaker 1: have just been the office, you know.

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Speaker 4: Yeah, yeah, yeah, Well, I mean that's funny.

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Speaker 1: Are you telling the entire story of Joni Mitchell? Is

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Speaker 1: this a very specific part of her life that you're

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Speaker 1: focusing on.

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Speaker 3: It's chunks, it's not one slice, it's a couple, it's

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Speaker 3: some slices, and it's in a context that I think

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Speaker 3: it holds together for a bigger story. To be slightly vague,

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Speaker 3: but there's a way to tell her story, which is

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Speaker 3: why I called up her place and just said, like,

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Speaker 3: I have a take on this. You know, whenever you're

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Speaker 3: interested in anything like this, just come to me and

258
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Speaker 3: well I'll pitch it out and see what you think.

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Speaker 3: And they're like, now get over here.

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Speaker 1: How easy was it to convince her? Because right now,

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Speaker 1: the most frustrating, frustrating part of this whole process that

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Speaker 1: I'm in right now is conveying to my subjects or

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Speaker 1: my dream subjects. Yeah, the urgency of time running on

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Speaker 1: the clock right now. And for a lot of people

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Speaker 1: sharing their story, rappers especially, you know, this means that oh,

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Speaker 1: the second I start looking in the rear view mirror

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Speaker 1: that now, that means my career is over. This is

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Speaker 1: not just with film, like trying to get rappers to

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Speaker 1: do memoirs to keep a track a thing. It's almost

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Speaker 1: like there's this rule like if I look back, then

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Speaker 1: I'm dead already, which I don't believe in just what

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Speaker 1: I've learned and Slide and the Earth Wind and Fire

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Speaker 1: doc is memory fades, you know for a lot of these.

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Speaker 3: Things, yes, and turns into anecdotes with cute little punchlines.

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Speaker 1: Right and there's the whole kind of revisionist history thing,

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Speaker 1: like your version of how it happened. And it's such

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Speaker 1: a dangerous spot. And I can't convey to people enough

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Speaker 1: the importance of pictures, writing things down, saving posters.

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Speaker 3: Yes, you can taste it when you have that stuff

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Speaker 3: from the day and it's souvenir from the day. It's important.

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Speaker 1: So this wasn't a hard pitch to convince her, like

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Speaker 1: now's the time to tell your story.

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Speaker 3: No, because there are a lot of people that had

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Speaker 3: been coming before me with really bad ideas, and so

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Speaker 3: I had the benefit of their failures in probably not

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Speaker 3: knowing her well enough. So if a few of them,

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Speaker 3: I think came in not really knowing her history. It's

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Speaker 3: like the Barry Gordy thing. You know, if you send

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Speaker 3: me a letter and it's b A R R y.

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Speaker 3: You didn't take the time to know how my name

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Speaker 3: was spelled, and I can't take the time to know

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Speaker 3: what you want from me. Goodbye? You know, I love that.

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Speaker 3: This is what's interesting. Tell me if you've run across this.

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Speaker 3: Success creates eight different viewpoints and people raising their hands

295
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Speaker 3: and say it was me, it was me, it was me,

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Speaker 3: it was me, And the memory does morph into a

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Speaker 3: different thing, and it's everybody kind of disagrees because they're

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Speaker 3: trying to take credit for a success a failed project.

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Speaker 3: The memories are perfect because they're all about who to

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Speaker 3: blame for it. Memories are dead on you know, there's

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Speaker 3: not it's not Rashamon. It's like they pretty much figure

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Speaker 3: that it's one person and one decision, and they're really

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Speaker 3: clear about it. So success breeds all the conflicting accounts

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Speaker 3: unless you have the stuff from the day, like.

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Speaker 1: Do you know when you're being talked to by someone

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Speaker 1: well trained media that says the right things and whatnot,

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Speaker 1: and like, how do you know.

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Speaker 2: You're getting the right story?

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Speaker 1: And was your young age a part of the dismantling

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Speaker 1: or the putting my guard down and revealing to you

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Speaker 1: because you know you're getting major stories out of these

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Speaker 1: acts and you know who otherwise would probably be guarded

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Speaker 1: with anyone else.

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Speaker 3: I never had the feeling that, like, oh, oh, it's

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Speaker 3: a plus that I'm fifteen or sixteen. I was always

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Speaker 3: kind of like hoping I didn't get asked how old

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Speaker 3: I was, and hoping that I could seem adult like

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Speaker 3: but not in a precocious way. Nobody really busted me

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Speaker 3: on my age, no once, but to me, I had

320
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Speaker 3: no choice in it. I just had to do it.

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Speaker 3: I just couldn't not do it. I loved some of

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Speaker 3: the stories that I'd read. I loved Ben Fong Torres

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Speaker 3: doing these interviews with Marvin Gay, with David Crosby, and

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Speaker 3: Joan Winner's interview with John Lennon. It's like, Wow, this

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Speaker 3: is really revealing and confessional, and that made me want

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Speaker 3: to collect stories like that, Like I just wanted to

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Speaker 3: be the person who could say the right thing and

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Speaker 3: get people to talk like Dick Cavin on TV was one.

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Speaker 2: Of my favorite.

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Speaker 3: So I didn't have a choice. I just did it.

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Speaker 3: And it wasn't until later that I kind of hit

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Speaker 3: a wall and took on so many assignments that I

333
00:20:03,400 --> 00:20:06,080
Speaker 3: just felt like I was starting to take a long

334
00:20:06,119 --> 00:20:10,760
Speaker 3: time to turn stories in. I started Chuck Young at

335
00:20:10,840 --> 00:20:14,000
Speaker 3: Rolling Stone started doing these stories that I would have

336
00:20:14,040 --> 00:20:18,760
Speaker 3: done really well in a first person way that was

337
00:20:18,840 --> 00:20:21,679
Speaker 3: kind of gregarious and amazing, and he wrote about the

338
00:20:21,720 --> 00:20:26,959
Speaker 3: sex pistols, and I just felt like, I'm washed up,

339
00:20:27,080 --> 00:20:31,280
Speaker 3: you know, And that was when I went home and

340
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Speaker 3: decided to start writing this story that ended up being

341
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Speaker 3: Fast Times at Ridgemal hint.

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Speaker 1: At the age of twenty, you already felt that you

343
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Speaker 1: were a veteran, A washed up veteran.

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Speaker 3: Yeah. When I first came to Rolling Stone, there were

345
00:20:45,359 --> 00:20:47,919
Speaker 3: people that were at the end of their run, and

346
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Speaker 3: I remember what it looked like, I remember what it

347
00:20:50,480 --> 00:20:53,640
Speaker 3: sounded like. I remember there was one guy who had

348
00:20:53,640 --> 00:20:57,400
Speaker 3: written epic stories, and the thing that they whispered about

349
00:20:57,480 --> 00:21:01,280
Speaker 3: him behind his back was he's so fucked up on

350
00:21:01,359 --> 00:21:04,280
Speaker 3: writer's block now he can't be in a room with

351
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Speaker 3: a typewriter. He starts melting down with anxiety. I'm like,

352
00:21:08,680 --> 00:21:13,280
Speaker 3: that'll never be me. And then I never became that guy.

353
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Speaker 3: But I started to just freeze up about deadlines, which

354
00:21:16,640 --> 00:21:19,560
Speaker 3: was very scary, and so it was time to kind

355
00:21:19,560 --> 00:21:23,200
Speaker 3: of move on. I know, the exact moment had happened.

356
00:21:23,280 --> 00:21:26,400
Speaker 3: There were two things that happened in one day. There

357
00:21:26,480 --> 00:21:30,280
Speaker 3: was a Neil Young cover story, and I'd gone on

358
00:21:30,359 --> 00:21:33,800
Speaker 3: the bus with Neil Young and Joel Bernstein my Palle,

359
00:21:33,840 --> 00:21:37,199
Speaker 3: the photographer. We had toured with Neil and it was

360
00:21:37,640 --> 00:21:40,880
Speaker 3: great stuff. I mean, he canceled a three album set

361
00:21:40,920 --> 00:21:43,760
Speaker 3: that had already been printed up and pressed and stuff.

362
00:21:43,760 --> 00:21:46,639
Speaker 3: And the Warner Brothers guys came out and said, you

363
00:21:46,720 --> 00:21:50,160
Speaker 3: can't cancel decade and He's like, I can't. I got

364
00:21:50,240 --> 00:21:53,399
Speaker 3: new music that I'm doing with Emmy Lou Harris and stuff,

365
00:21:53,440 --> 00:21:55,719
Speaker 3: and it's just I've moved on. These guys are like

366
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Speaker 3: it's gonna cost us half a million dollars. He's like,

367
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Speaker 3: I can't help it, man. You know, it was like

368
00:22:02,680 --> 00:22:05,760
Speaker 3: it was the greatest story. And Elliott Roberts called up,

369
00:22:05,800 --> 00:22:07,920
Speaker 3: his manager called me up and said, you know what,

370
00:22:08,640 --> 00:22:10,679
Speaker 3: Neil doesn't want the story to come out. He's not

371
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Speaker 3: gonna pose for the cover. And Neil, he just got

372
00:22:12,920 --> 00:22:15,679
Speaker 3: into it. He does, He's moved on. It's like moved on.

373
00:22:16,680 --> 00:22:19,280
Speaker 3: It was ten days ago. You know. No, no, he's

374
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Speaker 3: a different guy.

375
00:22:20,160 --> 00:22:23,359
Speaker 2: Now wait, can you give it backstory? So this is

376
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Speaker 2: what year is this?

377
00:22:24,480 --> 00:22:28,040
Speaker 3: It's seventy seven. I know it's exactly seventy seven. For

378
00:22:28,119 --> 00:22:30,280
Speaker 3: a couple different reasons. He had fallen in love with

379
00:22:30,320 --> 00:22:33,600
Speaker 3: the Sweet Home Alabama, the Leonard skinnerd song that was

380
00:22:33,720 --> 00:22:37,280
Speaker 3: kind of a call out supposedly, so it was anyway, amir,

381
00:22:37,359 --> 00:22:40,960
Speaker 3: it was a great story. He liked it, he loved it.

382
00:22:41,920 --> 00:22:45,960
Speaker 3: He gave me a cassette to give to them because

383
00:22:46,160 --> 00:22:51,000
Speaker 3: I had written about them of three songs, Powderfinger, Captain Kennedy,

384
00:22:51,200 --> 00:22:53,639
Speaker 3: and I forget the third one, but he gave me

385
00:22:53,680 --> 00:22:55,840
Speaker 3: a cassette, which I gave to Leonard Skinnyard.

386
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Speaker 2: What was their response?

387
00:22:58,040 --> 00:23:01,159
Speaker 3: Fuck? Yeah was their response? They love to Neil, it

388
00:23:01,200 --> 00:23:03,880
Speaker 3: was it was like, I don't know, it's like one

389
00:23:03,880 --> 00:23:07,560
Speaker 3: of those kind of Jobiz feuds that was wasn't really true.

390
00:23:07,640 --> 00:23:10,080
Speaker 2: It was just it wasn't kids with Lamar.

391
00:23:10,200 --> 00:23:13,119
Speaker 3: I get it, Okay, it wasn't it wasn't like secretly

392
00:23:13,200 --> 00:23:15,960
Speaker 3: crushing out on each other. So I had that story

393
00:23:16,680 --> 00:23:18,520
Speaker 3: and it was kind of like I knew I was

394
00:23:18,560 --> 00:23:21,840
Speaker 3: gonna make that deadline and it would be good, and

395
00:23:21,920 --> 00:23:26,000
Speaker 3: though I'd been missing deadlines lately at Rolling Stone. So anyway, Elliott,

396
00:23:26,040 --> 00:23:28,359
Speaker 3: the manager calls me up and says, cancel the story.

397
00:23:28,440 --> 00:23:31,879
Speaker 3: Neil wants it canceled, won't post with the cover, doesn't

398
00:23:31,880 --> 00:23:36,000
Speaker 3: approve anything. It's canceled. And I'm like, I'm gonna get fired.

399
00:23:36,080 --> 00:23:39,120
Speaker 3: I'm gonna lose everything. I'm gonna lose everything in Elliott Roberts,

400
00:23:39,119 --> 00:23:42,160
Speaker 3: classic funny guy. He had a line that I will

401
00:23:42,160 --> 00:23:44,560
Speaker 3: never forget. He's like, yeah, I know, I got to

402
00:23:44,560 --> 00:23:47,879
Speaker 3: get rid of that kid. And I'm like, you're fucking

403
00:23:48,040 --> 00:23:53,200
Speaker 3: making jokes, and I was. And he called back two

404
00:23:53,240 --> 00:23:55,040
Speaker 3: days later and said, I talked to Neil, go ahead

405
00:23:55,080 --> 00:23:56,440
Speaker 3: and go with the story. He doesn't want you to

406
00:23:56,480 --> 00:23:58,919
Speaker 3: get in trouble, which was cool of him. But the

407
00:23:59,000 --> 00:24:02,080
Speaker 3: other thing that happened on that first day was John

408
00:24:02,160 --> 00:24:05,560
Speaker 3: Belushi called out of nowhere the Rolling Stone office and

409
00:24:05,640 --> 00:24:08,080
Speaker 3: asked to talk to me. And I had met him,

410
00:24:08,400 --> 00:24:11,920
Speaker 3: I think twice. Mitch Glazer took me to the blues bar,

411
00:24:12,119 --> 00:24:14,280
Speaker 3: and I had met him there. He told me an

412
00:24:14,320 --> 00:24:18,200
Speaker 3: amazing drummer joke. Who was It was like Buddy rib

413
00:24:18,200 --> 00:24:21,760
Speaker 3: about Buddy Rich And I don't know. He was very cool, right,

414
00:24:22,080 --> 00:24:24,360
Speaker 3: but I hardly knew him. And he said, look, hey man,

415
00:24:24,480 --> 00:24:26,879
Speaker 3: I'm just calling you because like they're gonna put me

416
00:24:26,920 --> 00:24:30,239
Speaker 3: on the cover of Rolling Stone. And I asked for

417
00:24:30,320 --> 00:24:33,560
Speaker 3: you to be the writer, and they said no, he

418
00:24:33,680 --> 00:24:38,440
Speaker 3: takes too long, and so they gave it to Chuck Young.

419
00:24:39,320 --> 00:24:41,359
Speaker 3: But I just wanted you to know like I asked

420
00:24:41,359 --> 00:24:45,199
Speaker 3: for you. I was like, I'm washed up. I'm washed up.

421
00:24:45,200 --> 00:24:50,080
Speaker 3: There they're telling artists that I'm not efficient with deadlines.

422
00:24:50,160 --> 00:24:50,959
Speaker 3: This is bad.

423
00:24:52,640 --> 00:24:59,719
Speaker 1: How common was accessibility to artists in the seventies, Like

424
00:25:00,040 --> 00:25:02,920
Speaker 1: how often would you get unsolicited phone calls?

425
00:25:03,440 --> 00:25:06,560
Speaker 3: You'd get a phone call or too before the article

426
00:25:06,640 --> 00:25:10,239
Speaker 3: was published, Like they would be up late staring at

427
00:25:10,240 --> 00:25:12,520
Speaker 3: the ceiling and going why did I say this and that?

428
00:25:12,680 --> 00:25:16,120
Speaker 3: So you'd get calls to clarify, like I just want

429
00:25:16,160 --> 00:25:20,320
Speaker 3: to can I redo my talk about Leonard Skinner? You know,

430
00:25:20,480 --> 00:25:24,320
Speaker 3: like you'd get that call, but then no calls after

431
00:25:24,359 --> 00:25:27,520
Speaker 3: the story came out. I mean, I think Sissy spacet

432
00:25:27,560 --> 00:25:29,479
Speaker 3: called and said I liked this story you wrote. But

433
00:25:29,520 --> 00:25:33,440
Speaker 3: that was the only time that happened. Sometimes you might

434
00:25:33,560 --> 00:25:35,680
Speaker 3: run into them later and get a comment, but mostly

435
00:25:36,520 --> 00:25:40,400
Speaker 3: that would happen only to like social calls from somebody

436
00:25:41,400 --> 00:25:45,960
Speaker 3: who's in the sphere, the actual entertainment sphere. I think

437
00:25:46,040 --> 00:25:49,160
Speaker 3: Jan Wenner would get those calls because I remember sitting

438
00:25:49,160 --> 00:25:51,320
Speaker 3: at the Rolling Stone office as a little guy, and

439
00:25:51,440 --> 00:25:54,720
Speaker 3: it'd be like fucking John Lennon on one Jan and

440
00:25:54,720 --> 00:25:58,159
Speaker 3: I'm like what And then you hear him going like John,

441
00:25:58,320 --> 00:26:00,440
Speaker 3: how you doing? Like what? Oh?

442
00:26:00,480 --> 00:26:01,679
Speaker 2: So you go okay.

443
00:26:01,920 --> 00:26:05,480
Speaker 1: Would you often wonder what they thought about it, or

444
00:26:05,560 --> 00:26:10,040
Speaker 1: even parts that you might have to keep in that

445
00:26:10,160 --> 00:26:13,040
Speaker 1: could be seen as a problem in the future or

446
00:26:13,080 --> 00:26:13,920
Speaker 1: anything like that.

447
00:26:14,680 --> 00:26:18,000
Speaker 3: It's a really good question. Sometimes you have to fight

448
00:26:18,080 --> 00:26:22,119
Speaker 3: for the thing that they made off the record, and

449
00:26:22,200 --> 00:26:25,080
Speaker 3: if you're on the road for a couple days at

450
00:26:25,160 --> 00:26:28,359
Speaker 3: least you know you're in these situations where you're not

451
00:26:28,440 --> 00:26:30,320
Speaker 3: always just a guy in a hotel room with a

452
00:26:30,400 --> 00:26:33,639
Speaker 3: pointing a microphone at them. You're or sometimes in the

453
00:26:33,640 --> 00:26:35,760
Speaker 3: back of a car or backstage and they're like, you

454
00:26:35,800 --> 00:26:40,000
Speaker 3: know that guy that just came in, let me tell

455
00:26:40,000 --> 00:26:42,000
Speaker 3: you about that guy, you know, and it's like an

456
00:26:42,040 --> 00:26:45,800
Speaker 3: amazing story. It's like, right, that's off the record. Of course,

457
00:26:45,920 --> 00:26:48,240
Speaker 3: you're like, of course, but then you could come back

458
00:26:48,320 --> 00:26:50,359
Speaker 3: later and say, you know what that story you told

459
00:26:50,359 --> 00:26:53,440
Speaker 3: me backstage. Here's why I think it works because it's

460
00:26:53,480 --> 00:26:56,680
Speaker 3: blah blah blah blah blah blah blah, and like eight

461
00:26:56,720 --> 00:27:00,760
Speaker 3: times out of ten they'd say, Okay, you gotta use it.

462
00:27:00,800 --> 00:27:03,600
Speaker 3: But that collaboration doesn't happen so much anymore because you

463
00:27:03,640 --> 00:27:06,960
Speaker 3: don't have the time with the person you do because

464
00:27:07,000 --> 00:27:12,080
Speaker 3: you have a creative experience with I would imagine quite

465
00:27:12,119 --> 00:27:15,760
Speaker 3: a few of your heroes. That's a different thing. This

466
00:27:15,840 --> 00:27:27,119
Speaker 3: is a negotiation sometimes.

467
00:27:31,240 --> 00:27:36,520
Speaker 1: My obsession with Rolling Stone really stemmed from well one

468
00:27:36,600 --> 00:27:38,320
Speaker 1: we had a subscription to the house.

469
00:27:38,960 --> 00:27:41,879
Speaker 2: I lived in a Billboard cash box.

470
00:27:43,119 --> 00:27:47,879
Speaker 1: Rolling Stone cream subscription household, like any music magazine, always

471
00:27:47,960 --> 00:27:50,000
Speaker 1: came to my parents' crib.

472
00:27:50,440 --> 00:27:50,719
Speaker 2: You know.

473
00:27:51,080 --> 00:27:55,439
Speaker 1: For the most part, I would be fascinated with the

474
00:27:55,520 --> 00:27:59,960
Speaker 1: lead review because I love the idea of like a

475
00:28:00,119 --> 00:28:03,760
Speaker 1: illustration and then seeing the star rating and stuff. And

476
00:28:03,800 --> 00:28:06,919
Speaker 1: so I started adorning the walls in my house with

477
00:28:07,040 --> 00:28:11,160
Speaker 1: those leeve reviews. And you know, by the time I'm fifteen. Yeah,

478
00:28:11,160 --> 00:28:14,480
Speaker 1: I mean that's pretty much like how I know, you know,

479
00:28:14,520 --> 00:28:18,600
Speaker 1: when you talk about past the original generation of Rolling Stone,

480
00:28:18,640 --> 00:28:21,800
Speaker 1: like I'll say that his name.

481
00:28:21,680 --> 00:28:24,320
Speaker 2: Is kN Tucker, Yeah, kN Tucker.

482
00:28:25,040 --> 00:28:28,560
Speaker 1: So I knew besides Stevie Wonder's songs in the Key

483
00:28:28,600 --> 00:28:31,760
Speaker 1: of Life, it was very rare to see a black

484
00:28:31,880 --> 00:28:37,720
Speaker 1: live review and it was the police issue of Rolling Stone.

485
00:28:37,800 --> 00:28:41,840
Speaker 1: I believe that this is when Zennata Mindata came out

486
00:28:41,920 --> 00:28:46,080
Speaker 1: and they had the cover. kN Tucker gave Prince's Dirty

487
00:28:46,120 --> 00:28:49,720
Speaker 1: Mind the Lee review in Rolling Stone, and at that time,

488
00:28:49,840 --> 00:28:53,080
Speaker 1: Prince was just one of the artists that would adorn

489
00:28:53,360 --> 00:28:57,280
Speaker 1: my older sister's walls. So I kind of had Prince

490
00:28:57,400 --> 00:29:01,760
Speaker 1: in the right on Team Beat thing. Not that I

491
00:29:01,800 --> 00:29:06,120
Speaker 1: knew the difference between like critical writing of music and fanzines,

492
00:29:06,960 --> 00:29:09,680
Speaker 1: but even I knew that Team Beat and Ride On

493
00:29:09,880 --> 00:29:13,240
Speaker 1: were like frothy articles and you weren't going to get

494
00:29:13,240 --> 00:29:17,440
Speaker 1: anything deep as opposed to Rolling Stone. And I remember, like,

495
00:29:17,520 --> 00:29:20,680
Speaker 1: wait a minute, they're tweeting this guy like he's a

496
00:29:20,800 --> 00:29:22,680
Speaker 1: real serious person.

497
00:29:22,840 --> 00:29:23,040
Speaker 2: You know.

498
00:29:23,080 --> 00:29:25,120
Speaker 1: At the time, I only knew like the singles, and

499
00:29:26,000 --> 00:29:29,240
Speaker 1: it was because of the pun. The pun was someday

500
00:29:29,440 --> 00:29:35,280
Speaker 1: our prints will come Wow, which you know, even at nine,

501
00:29:35,320 --> 00:29:37,640
Speaker 1: I was like, Wow, that's that's a hell of a reference.

502
00:29:38,200 --> 00:29:40,680
Speaker 1: And I had never even heard Dirty Mine or anything

503
00:29:40,720 --> 00:29:43,720
Speaker 1: about it, but it made an impression on me, and

504
00:29:44,680 --> 00:29:50,200
Speaker 1: suddenly I started getting obsessed with leave reviews only Wow,

505
00:29:50,880 --> 00:29:54,600
Speaker 1: could you, at least during that time period, could you

506
00:29:55,840 --> 00:29:59,480
Speaker 1: tell me what the modus operandi was in terms of

507
00:30:01,280 --> 00:30:05,960
Speaker 1: how records were assigned to writers to review them, how

508
00:30:06,040 --> 00:30:09,240
Speaker 1: long they had to sit with it, who assigns the stars,

509
00:30:10,720 --> 00:30:12,040
Speaker 1: those things.

510
00:30:12,000 --> 00:30:15,320
Speaker 3: That I did not know a lot about. There was

511
00:30:15,360 --> 00:30:18,120
Speaker 3: some mystery to it. I know that there were people

512
00:30:18,160 --> 00:30:21,880
Speaker 3: that had DIBs on upcoming records, there were regular reviewers

513
00:30:21,960 --> 00:30:24,560
Speaker 3: that would have DIBs on it, and features too, like

514
00:30:24,640 --> 00:30:29,600
Speaker 3: Bob Dylan. But when I first started, John Landau was

515
00:30:29,640 --> 00:30:33,760
Speaker 3: still the music editor, and John Landau would make a

516
00:30:33,800 --> 00:30:37,680
Speaker 3: lot of these decisions, and John Landau was a huge

517
00:30:39,080 --> 00:30:41,600
Speaker 3: force at Rolling Stone. When I was doing that on

518
00:30:41,680 --> 00:30:44,560
Speaker 3: my brother's story, they said, you need to talk to

519
00:30:44,600 --> 00:30:51,000
Speaker 3: the king because the King knows Phil Walden and Capricorn Records,

520
00:30:51,000 --> 00:30:52,920
Speaker 3: and the King will just help you a little bit,

521
00:30:53,000 --> 00:30:55,880
Speaker 3: knowing how the ropes go. And I was like, who's

522
00:30:55,880 --> 00:31:00,600
Speaker 3: the king? They're like, John Landau, that's the king. The

523
00:31:00,760 --> 00:31:03,720
Speaker 3: Duke is Dave Marsh. And I'm like, okay, a right, okay,

524
00:31:03,760 --> 00:31:06,920
Speaker 3: so the King is Landel, the Duke is Dave Marsh.

525
00:31:06,960 --> 00:31:09,880
Speaker 3: So the king is just like, here's the call the king,

526
00:31:10,240 --> 00:31:11,240
Speaker 3: here's his phone number.

527
00:31:13,040 --> 00:31:15,520
Speaker 1: So you weren't a you weren't a staff writer. You

528
00:31:15,600 --> 00:31:16,960
Speaker 1: were still freelancing.

529
00:31:17,360 --> 00:31:19,880
Speaker 3: I was freelancing, and I was coming into the feature division.

530
00:31:19,920 --> 00:31:23,720
Speaker 3: But John Landau even had you know, like even even

531
00:31:23,760 --> 00:31:25,640
Speaker 3: had to say in some of the features and everything.

532
00:31:25,680 --> 00:31:27,960
Speaker 3: So it was almost like it was somewhere between a

533
00:31:28,040 --> 00:31:32,000
Speaker 3: hazing and an education. Because I called Landau and he

534
00:31:32,120 --> 00:31:37,320
Speaker 3: was like, this is the king, Like okay, what do

535
00:31:37,360 --> 00:31:39,520
Speaker 3: you what do you? How does this work? And he

536
00:31:39,560 --> 00:31:41,240
Speaker 3: was like, well, you know, you got to dig deep

537
00:31:41,280 --> 00:31:43,440
Speaker 3: and you gotta do this, and you got to do that.

538
00:31:43,640 --> 00:31:46,480
Speaker 3: You got to know that, like southern music is born

539
00:31:46,560 --> 00:31:50,959
Speaker 3: and like this and otis Redding, and so that's what

540
00:31:51,000 --> 00:31:54,120
Speaker 3: you're waiting into. And Dwayne Almond, you know Dwayne, Dwayne

541
00:31:54,200 --> 00:31:56,240
Speaker 3: worked with Blah blah blah, and so he was he

542
00:31:56,400 --> 00:32:00,400
Speaker 3: was amazing and uh, you know this is pre Bruce

543
00:32:00,640 --> 00:32:07,560
Speaker 3: and stuff. So he was the King. So he's still

544
00:32:07,600 --> 00:32:10,880
Speaker 3: the King. I think Bruce probably calls him John, but

545
00:32:11,280 --> 00:32:13,600
Speaker 3: you know, maybe he calls him the king. I just

546
00:32:13,640 --> 00:32:17,720
Speaker 3: think Klubby. And to answer your question is like John

547
00:32:17,800 --> 00:32:21,360
Speaker 3: Landau protected the club that was the music reviews got it.

548
00:32:22,080 --> 00:32:26,360
Speaker 1: So I'm leaving this up to the old guards. Disdain

549
00:32:26,560 --> 00:32:31,680
Speaker 1: for led Zeppelin. Yeah, clearly you were a fan of

550
00:32:31,720 --> 00:32:37,400
Speaker 1: these guys, definitely, And of course I guess their hesitancy

551
00:32:37,640 --> 00:32:40,040
Speaker 1: was like, well, you know, they're still in the blues

552
00:32:40,040 --> 00:32:45,440
Speaker 1: from black artists and reserving it and washing it down and.

553
00:32:45,600 --> 00:32:47,000
Speaker 2: There's no integrity behind that.

554
00:32:47,440 --> 00:32:49,360
Speaker 1: Let me ask you, do you believe in the theory

555
00:32:49,400 --> 00:32:53,360
Speaker 1: that fifty million Elvis fans can't be wrong?

556
00:32:57,000 --> 00:32:57,360
Speaker 3: No?

557
00:32:58,080 --> 00:33:00,720
Speaker 2: I think I mean, does take still matter?

558
00:33:00,880 --> 00:33:03,160
Speaker 3: Of course they can be wrong. You know, it's like

559
00:33:03,240 --> 00:33:07,200
Speaker 3: it's such a fluid thing. Everything changes. Like as you

560
00:33:07,200 --> 00:33:09,840
Speaker 3: were talking about led Zeppelin, I wish it ran as

561
00:33:09,880 --> 00:33:15,120
Speaker 3: deep as you know, misappropriation and all that stuff that

562
00:33:15,160 --> 00:33:18,080
Speaker 3: all came later. The big thing that they were against

563
00:33:18,240 --> 00:33:21,480
Speaker 3: led Zeppelin for, I think was that they came out

564
00:33:21,480 --> 00:33:27,240
Speaker 3: of a fad which was supergroups. Blind Faith was a supergroup.

565
00:33:27,320 --> 00:33:30,960
Speaker 3: You know, it had Clapton and Stevie Winwood and stuff

566
00:33:31,320 --> 00:33:35,440
Speaker 3: that had some integrity, but I think there was some cheesy,

567
00:33:36,520 --> 00:33:41,520
Speaker 3: superficial supergroups, so called supergroups, that were around, and then

568
00:33:41,680 --> 00:33:44,120
Speaker 3: here comes led Zeppelin, which is the guy from the

569
00:33:44,240 --> 00:33:48,560
Speaker 3: Yardbirds and the other guys weren't that well known, but

570
00:33:48,680 --> 00:33:53,320
Speaker 3: it was perceived as a supergroup and not taking that seriously.

571
00:33:54,120 --> 00:33:57,400
Speaker 3: I think it was the fans that said, no, this

572
00:33:57,560 --> 00:33:59,840
Speaker 3: is a real group. This is a real, real group.

573
00:34:00,040 --> 00:34:02,520
Speaker 3: By the time led Zeppelin two came out, it was

574
00:34:02,840 --> 00:34:05,760
Speaker 3: you didn't hear that anymore. It's a strange thing that

575
00:34:05,760 --> 00:34:08,240
Speaker 3: I remember at the time. And then it became about

576
00:34:08,280 --> 00:34:10,840
Speaker 3: you know, the Lemon song and all that stuff, and

577
00:34:11,400 --> 00:34:13,680
Speaker 3: like stealing a little bit and that they came after it,

578
00:34:13,719 --> 00:34:16,960
Speaker 3: but mostly they just didn't take them seriously. At the beginning,

579
00:34:17,040 --> 00:34:20,520
Speaker 3: it was felt like a commercial venture by somebody who

580
00:34:20,760 --> 00:34:25,480
Speaker 3: had done you know, more legit work elsewhere, like with

581
00:34:25,520 --> 00:34:30,720
Speaker 3: the Yardbirds. So you know, it's that caddy really and.

582
00:34:31,160 --> 00:34:34,600
Speaker 2: So we're supergroup seen as cheating if you will.

583
00:34:34,480 --> 00:34:37,680
Speaker 3: Or yeah, yeah, totally totally, like too easy. It's like

584
00:34:38,560 --> 00:34:42,400
Speaker 3: this is not born, you know, out of out of passion,

585
00:34:42,640 --> 00:34:44,960
Speaker 3: heart and soul. This is born out of a Petri

586
00:34:45,080 --> 00:34:46,000
Speaker 3: dish for success.

587
00:34:46,080 --> 00:34:49,680
Speaker 1: Man, Come on, well, If that's the case, then did

588
00:34:49,719 --> 00:34:51,320
Speaker 1: they take Band of Gypsies seriously?

589
00:34:52,440 --> 00:34:52,840
Speaker 2: Kind of not?

590
00:34:53,520 --> 00:34:55,640
Speaker 1: Is that why the Band of Gypsy's album really isn't

591
00:34:55,680 --> 00:34:58,839
Speaker 1: considered in the Hendrix canon of.

592
00:35:00,120 --> 00:35:02,600
Speaker 3: Kind of is now but at the time less than

593
00:35:02,640 --> 00:35:05,000
Speaker 3: now for sure. For sure, it's like, oh, well, you

594
00:35:05,040 --> 00:35:10,279
Speaker 3: missed the white hot cannonball. That's over now. It's like

595
00:35:10,360 --> 00:35:13,680
Speaker 3: he's gonna go play jazz with Buddy Miles and this

596
00:35:13,719 --> 00:35:16,440
Speaker 3: is not going to go anywhere. Great. It was kind

597
00:35:16,440 --> 00:35:20,000
Speaker 3: of live of it. Wow, I know, but it's like

598
00:35:20,120 --> 00:35:23,600
Speaker 3: all of that stuff changes, people reinvent and all that stuff,

599
00:35:23,600 --> 00:35:26,000
Speaker 3: and it's just fun to watch it all happen. But

600
00:35:26,520 --> 00:35:29,680
Speaker 3: when there were that many people focused on one of

601
00:35:29,719 --> 00:35:33,799
Speaker 3: the few music outlets out there, you know, there's a

602
00:35:33,800 --> 00:35:37,520
Speaker 3: lot of serious you're in, you're out of the club

603
00:35:37,600 --> 00:35:41,240
Speaker 3: stuff going on. They don't have a lot of power.

604
00:35:41,360 --> 00:35:42,920
Speaker 3: Cream even had a lot of power. I love that

605
00:35:42,920 --> 00:35:47,320
Speaker 3: you had a subscription to Cream. Cream was fun. Cream

606
00:35:47,400 --> 00:35:50,759
Speaker 3: took fun into the sphere of music journalism much more

607
00:35:50,760 --> 00:35:54,239
Speaker 3: than Rolling Stone. Doesn't get enough credit. Lisa Robinson was

608
00:35:54,719 --> 00:35:58,680
Speaker 3: talking about, you know, el Agonza and making fun and

609
00:35:58,760 --> 00:36:01,000
Speaker 3: you know, she was all, He's running around with these

610
00:36:01,040 --> 00:36:04,319
Speaker 3: pink little notebooks that she got from the Beverly Hills Hotel.

611
00:36:04,400 --> 00:36:07,040
Speaker 3: She would only take notes on this pink Beverly Hills

612
00:36:07,080 --> 00:36:10,120
Speaker 3: Hotel notebook. And she was friends with all of these guys.

613
00:36:10,160 --> 00:36:12,799
Speaker 3: I remember she would, you know, George Harrison would show

614
00:36:12,880 --> 00:36:15,800
Speaker 3: up at a led Zeppelin show and she'd be like, honey,

615
00:36:16,200 --> 00:36:20,200
Speaker 3: can you believe Look? Can we just dish? And she

616
00:36:20,440 --> 00:36:23,680
Speaker 3: was amazing. She kind of brought fun into it, but

617
00:36:23,760 --> 00:36:27,080
Speaker 3: it was all kind of getting a candy store for

618
00:36:27,200 --> 00:36:30,280
Speaker 3: me because the byelines were coming to life all around

619
00:36:30,360 --> 00:36:33,080
Speaker 3: me and it was the coolest, Like you, I mean,

620
00:36:33,160 --> 00:36:36,799
Speaker 3: I was studying the byelines. I love those byelines?

621
00:36:38,040 --> 00:36:38,440
Speaker 2: Okay.

622
00:36:39,120 --> 00:36:44,440
Speaker 1: Was Lester Bangs the epicenter of critical writing for music?

623
00:36:45,480 --> 00:36:47,959
Speaker 1: Because I also believe there's writers that write for each

624
00:36:48,000 --> 00:36:51,880
Speaker 1: other as well. Yeah, you know there's certain Pitchfork writers

625
00:36:51,920 --> 00:36:57,399
Speaker 1: now that when they're going to roast an album, it's

626
00:36:57,440 --> 00:36:59,520
Speaker 1: almost like, hey, I'll check what I'm about to do

627
00:36:59,760 --> 00:37:02,880
Speaker 1: and they'll just and I could tell it's just almost

628
00:37:02,920 --> 00:37:05,680
Speaker 1: like their version of the Aristocrats for community.

629
00:37:05,840 --> 00:37:12,080
Speaker 3: Yeah, totally totally, but it is is. He was a

630
00:37:12,160 --> 00:37:16,840
Speaker 3: court jester, Okay. He was kind of the guy. Lester

631
00:37:17,480 --> 00:37:20,040
Speaker 3: was a little bit more of a heckler. Then he

632
00:37:20,120 --> 00:37:23,000
Speaker 3: became more he became more of an oracle, but he

633
00:37:23,080 --> 00:37:26,120
Speaker 3: was kind of the heckler he'd gotten fired from Rolling Stone.

634
00:37:26,239 --> 00:37:30,120
Speaker 3: He was a big character. And then the offshoot of

635
00:37:30,160 --> 00:37:35,160
Speaker 3: Lester was Richard Meltzer, who was not as talented and

636
00:37:35,239 --> 00:37:39,360
Speaker 3: kind of more of a legitimate pretender to the crown.

637
00:37:39,680 --> 00:37:42,200
Speaker 1: Did he truly love music or did he love the

638
00:37:42,320 --> 00:37:45,040
Speaker 1: art of the takedown, the art of the snark.

639
00:37:45,840 --> 00:37:50,640
Speaker 3: Lester legitimately cared about the music. And I know this

640
00:37:51,000 --> 00:37:55,960
Speaker 3: because I read the unpublished stuff that he wrote on

641
00:37:56,000 --> 00:37:58,920
Speaker 3: the back of record company bios and sent to my

642
00:37:58,920 --> 00:38:02,879
Speaker 3: little underground newsp The Door, and much more. Never had

643
00:38:02,880 --> 00:38:05,360
Speaker 3: any assignments. He just had written for The Door a

644
00:38:05,400 --> 00:38:07,880
Speaker 3: little bit and wrote so much that he would just

645
00:38:08,000 --> 00:38:10,680
Speaker 3: send them reviews and they didn't know what to do

646
00:38:10,760 --> 00:38:13,160
Speaker 3: with it. They just put it in this green file cabinet.

647
00:38:13,719 --> 00:38:15,319
Speaker 3: And when I first had a meeting at The Door,

648
00:38:15,440 --> 00:38:18,000
Speaker 3: I was like Lester Banks. I love Lester Banks. He

649
00:38:18,040 --> 00:38:20,600
Speaker 3: wrote for you guys, because the cartoonist guy who has

650
00:38:20,640 --> 00:38:24,240
Speaker 3: looked like an R. Crumb comic, I remember, oh my god,

651
00:38:24,920 --> 00:38:27,719
Speaker 3: he won't stop writing for us. He keeps sending all

652
00:38:27,760 --> 00:38:30,120
Speaker 3: this stuff and it's like, we can't it's long, we

653
00:38:30,160 --> 00:38:33,120
Speaker 3: can't publish it. It's over in that green file cabinet.

654
00:38:33,440 --> 00:38:36,160
Speaker 2: And I was like, so you own his original writings.

655
00:38:36,280 --> 00:38:40,240
Speaker 3: I didn't take them foolishly. I bet they got thrown

656
00:38:40,280 --> 00:38:43,399
Speaker 3: away because I don't think they were even fully read.

657
00:38:43,719 --> 00:38:46,400
Speaker 3: But Amir, you would get like, I don't know, I

658
00:38:46,400 --> 00:38:49,640
Speaker 3: don't have a bioish thing around here, but like it

659
00:38:49,680 --> 00:38:53,400
Speaker 3: was coffee stained and beer stained, and it was single

660
00:38:53,440 --> 00:38:56,040
Speaker 3: draft like xxx. He would just do like backspace on

661
00:38:56,080 --> 00:38:58,560
Speaker 3: the typewriter and it say XXXXX. You could see what

662
00:38:58,600 --> 00:39:04,719
Speaker 3: he didn't want us to publish. Yeah, it was beautiful writing,

663
00:39:05,520 --> 00:39:08,319
Speaker 3: and I don't know what happened to it, but it

664
00:39:08,480 --> 00:39:13,080
Speaker 3: was this idea that like there's a guy in Birmingham, Michigan,

665
00:39:14,040 --> 00:39:18,160
Speaker 3: kind of expelled from California and the rolling Stone culture,

666
00:39:18,560 --> 00:39:22,280
Speaker 3: but he's like a vesuvious out there like writing about music,

667
00:39:23,000 --> 00:39:25,320
Speaker 3: because he couldn't not write about music.

668
00:39:26,120 --> 00:39:26,920
Speaker 2: What was his outlet?

669
00:39:27,040 --> 00:39:31,640
Speaker 1: If there's not substack, cream, the cream would just take everything.

670
00:39:32,040 --> 00:39:34,239
Speaker 3: I think he wrote for the Village Voice too. He

671
00:39:34,440 --> 00:39:37,080
Speaker 3: wrote the thing about Elvis at the Village Voice dying.

672
00:39:37,120 --> 00:39:40,800
Speaker 3: That was amazing, so there he had outlets were starting

673
00:39:40,800 --> 00:39:44,360
Speaker 3: to come up, maybe trouser press and stuff, but Lester's

674
00:39:44,440 --> 00:39:46,640
Speaker 3: main thing was cream and a lot of his great

675
00:39:46,640 --> 00:39:48,200
Speaker 3: stuff was in cream. But a lot of his great

676
00:39:48,239 --> 00:39:52,799
Speaker 3: stuff is nowhere now sadly. And that was a real

677
00:39:52,880 --> 00:39:56,080
Speaker 3: lesson to me. That's like, you don't have to write

678
00:39:56,160 --> 00:40:00,640
Speaker 3: to be published. You can actually write to write, which

679
00:40:02,080 --> 00:40:06,719
Speaker 3: I tried to emulate doing this book The un cool

680
00:40:06,840 --> 00:40:10,640
Speaker 3: that was like that was for me. That was my

681
00:40:10,920 --> 00:40:14,200
Speaker 3: version of beer stained writing on the back of a bio.

682
00:40:14,320 --> 00:40:16,920
Speaker 3: It was just stuff for me, just because I loved

683
00:40:16,920 --> 00:40:20,000
Speaker 3: writing and I was I felt kind of after the

684
00:40:20,160 --> 00:40:24,000
Speaker 3: almost famous musical, I was like, God, I wasn't directing,

685
00:40:24,680 --> 00:40:27,080
Speaker 3: I wasn't writing in my first language. Like I got

686
00:40:27,080 --> 00:40:29,560
Speaker 3: to go back to that thing that I love, which

687
00:40:29,760 --> 00:40:34,200
Speaker 3: was you know, this stuff, yellow legal tablet stuff, and

688
00:40:34,239 --> 00:40:38,359
Speaker 3: that was the lesser vibe to me. Super Analog. Then

689
00:40:38,400 --> 00:40:42,600
Speaker 3: they invented the display writer, and they also did the

690
00:40:42,680 --> 00:40:46,440
Speaker 3: IBM Selectric, which you could automatically backspace on, which is

691
00:40:46,480 --> 00:40:50,600
Speaker 3: really good. But then the display writer, John Hughes, got

692
00:40:50,600 --> 00:40:52,960
Speaker 3: a display writer and he was working in the building

693
00:40:53,000 --> 00:40:55,799
Speaker 3: where I was working, and so I saw like what

694
00:40:55,960 --> 00:40:59,320
Speaker 3: he wrote on right, which was like, you know, the

695
00:40:59,800 --> 00:41:04,320
Speaker 3: the NASA. To me, that looked like the NASA stage

696
00:41:04,320 --> 00:41:09,239
Speaker 3: at you know, right Houston. He fucking doesn't write. He

697
00:41:09,400 --> 00:41:13,359
Speaker 3: like beams in a script from somewhere. I don't know,

698
00:41:14,160 --> 00:41:17,880
Speaker 3: as they're all beat up typewriter work. Though you could tell.

699
00:41:29,719 --> 00:41:31,480
Speaker 2: What was your first musical memory.

700
00:41:31,960 --> 00:41:35,280
Speaker 3: It was my mom taken us to see Bob Dylan

701
00:41:35,320 --> 00:41:38,680
Speaker 3: in nineteen sixty four, my sister and me in a

702
00:41:38,719 --> 00:41:43,479
Speaker 3: gymnasium in Riverside, California. And there was a long time

703
00:41:43,520 --> 00:41:46,680
Speaker 3: before we were ever going to concerts, or that I

704
00:41:46,719 --> 00:41:48,319
Speaker 3: was ever allowed to go to a concert. But that

705
00:41:48,400 --> 00:41:51,120
Speaker 3: was a protest movement thing for her. It was like,

706
00:41:51,160 --> 00:41:53,359
Speaker 3: there's a protest singer. I'm going to take you to

707
00:41:53,440 --> 00:41:56,520
Speaker 3: him because Republic they're going to burn down everything, and

708
00:41:56,560 --> 00:42:00,160
Speaker 3: we liked the protest singers. That was her thing. The

709
00:42:00,200 --> 00:42:04,879
Speaker 3: other thing was Elvis. I wont tickets two things I'm

710
00:42:04,880 --> 00:42:08,600
Speaker 3: going to over answer your question. I figured I would

711
00:42:08,640 --> 00:42:13,440
Speaker 3: win concert tickets and the thrill of victory would cause

712
00:42:13,840 --> 00:42:17,080
Speaker 3: my parents to let me go to the shows. So

713
00:42:17,120 --> 00:42:20,160
Speaker 3: I won. I had a trick way of winning be

714
00:42:20,200 --> 00:42:23,080
Speaker 3: the third caller type contests on the radio, so I

715
00:42:23,120 --> 00:42:26,640
Speaker 3: won those, Yeah, they were real, But I had two phones.

716
00:42:26,719 --> 00:42:29,320
Speaker 3: I would work it. I'd be on the phone already

717
00:42:29,400 --> 00:42:33,080
Speaker 3: dialing them, and then i'd have another phone all but one,

718
00:42:33,560 --> 00:42:35,920
Speaker 3: you know, visit pressed. It would be like they got

719
00:42:35,920 --> 00:42:37,680
Speaker 3: would be like you're the first caller, and I'd be like,

720
00:42:38,360 --> 00:42:41,279
Speaker 3: you're the second caller, You're the third callar, and I'm

721
00:42:41,320 --> 00:42:44,600
Speaker 3: like hey, And I'd win these tickets, and I want

722
00:42:44,640 --> 00:42:48,320
Speaker 3: tickets to go see the Buffalo Springfield and Iron Butterfly

723
00:42:48,840 --> 00:42:53,839
Speaker 3: at the Coachella at what is now the Coachella Festival Fairgrounds.

724
00:42:54,120 --> 00:42:58,160
Speaker 3: It was actually the Indio Date Festival Fairgrounds, where nothing

725
00:42:58,239 --> 00:43:01,200
Speaker 3: ever happened except once a year there was a you know,

726
00:43:01,520 --> 00:43:04,239
Speaker 3: like a fair But anyway, I want tickets. I went

727
00:43:04,320 --> 00:43:07,480
Speaker 3: to see the Iron Butterfly they were headlining and Buffalo

728
00:43:07,520 --> 00:43:11,840
Speaker 3: Springfield that was opening up. And Buffalo Springfield were terrible

729
00:43:12,480 --> 00:43:16,120
Speaker 3: because they'd already broken up. Neil Young and Steven Still's

730
00:43:16,120 --> 00:43:18,680
Speaker 3: were not the band. It was the drummer and four

731
00:43:18,719 --> 00:43:21,640
Speaker 3: other guys that hadn't even rehearsed. It was terrible, but

732
00:43:21,760 --> 00:43:24,720
Speaker 3: Iron Butterfly were coming on next and I was standing

733
00:43:24,760 --> 00:43:27,720
Speaker 3: by the soundboard. The guy at the soundboard who playing

734
00:43:27,800 --> 00:43:30,880
Speaker 3: like the walk in or pre pre performance music puts

735
00:43:30,920 --> 00:43:34,319
Speaker 3: on in a Gotta Davida before Iron Butterfly comes on,

736
00:43:34,719 --> 00:43:37,520
Speaker 3: And this is my first taste of like a rock manager.

737
00:43:37,920 --> 00:43:41,080
Speaker 3: Some guy comes screaming down the aisle and comes to

738
00:43:41,120 --> 00:43:44,000
Speaker 3: the guys like, take that fucking thing off. You think

739
00:43:44,040 --> 00:43:46,280
Speaker 3: they're gonna come on and they're gonna they're gonna duplicate

740
00:43:46,320 --> 00:43:49,320
Speaker 3: that on stage. That's never gonna happen. Take that fucking

741
00:43:49,320 --> 00:43:49,840
Speaker 3: thing off, you.

742
00:43:49,920 --> 00:43:53,759
Speaker 2: Idiot, and it'd be like, didn't even know, just.

743
00:43:53,760 --> 00:43:59,080
Speaker 3: Got fucking tripped off. And then they came on and

744
00:43:59,120 --> 00:44:01,600
Speaker 3: they were really great. I thought they were great Iron Butterfly.

745
00:44:02,080 --> 00:44:06,480
Speaker 1: Sonically speaking, did you really get a satisfaction when you're

746
00:44:06,600 --> 00:44:09,960
Speaker 1: going to these concerts?

747
00:44:10,239 --> 00:44:13,920
Speaker 2: Like when you're seeing Zeppelin in seventy three? Does it

748
00:44:14,160 --> 00:44:15,520
Speaker 2: sound like a.

749
00:44:15,840 --> 00:44:20,480
Speaker 1: Sports stadium sound where it's like the worst speakers ever?

750
00:44:20,600 --> 00:44:24,120
Speaker 1: And like James Brown when when I watched these nineteen

751
00:44:24,160 --> 00:44:26,800
Speaker 1: sixty seven shows or whatever, it sounds like he's singing

752
00:44:27,600 --> 00:44:33,920
Speaker 1: from a megaphone, almost like Yeah, have you ever witnessed

753
00:44:34,080 --> 00:44:36,440
Speaker 1: a concert in the sixties and the seventies from the nosebleed?

754
00:44:36,960 --> 00:44:38,360
Speaker 1: Did the sound reach up there?

755
00:44:38,920 --> 00:44:39,320
Speaker 3: Yeah?

756
00:44:39,680 --> 00:44:39,799
Speaker 2: Not?

757
00:44:39,960 --> 00:44:44,160
Speaker 3: Well, a lot of it was born in like gymnasiums

758
00:44:44,239 --> 00:44:46,680
Speaker 3: with no sound systems and a few amps and stuff,

759
00:44:46,719 --> 00:44:50,680
Speaker 3: so like concerts, they were really tinny and didn't actually

760
00:44:51,160 --> 00:44:54,920
Speaker 3: feel They felt like souvenirs more than performances like you

761
00:44:54,960 --> 00:45:00,000
Speaker 3: get to breathe the air of Bobby Sherman or even

762
00:45:00,080 --> 00:45:03,160
Speaker 3: the Jackson Five at the Forum. I mean that record

763
00:45:03,239 --> 00:45:05,520
Speaker 3: sounds much better than they founded live.

764
00:45:06,200 --> 00:45:09,480
Speaker 1: Yeah, So I was gonna say, like even when watching

765
00:45:09,680 --> 00:45:13,080
Speaker 1: the Jackson's before him in the seventies and I'm like,

766
00:45:13,080 --> 00:45:17,040
Speaker 1: wait with Ronnie and Johnny as their band and Tito

767
00:45:17,080 --> 00:45:21,120
Speaker 1: and Jermaine, it sounds when I listen to live records

768
00:45:21,160 --> 00:45:24,719
Speaker 1: like it sounds so sonically fool like. Another example is

769
00:45:24,800 --> 00:45:27,160
Speaker 1: James Brown live at the Apollo one, two and three

770
00:45:28,440 --> 00:45:32,360
Speaker 1: on record, It's like wow, but somehow get the feeling

771
00:45:32,520 --> 00:45:36,800
Speaker 1: that in concert they're not using like maybe the first

772
00:45:36,800 --> 00:45:38,440
Speaker 1: twelve rods can really feel it.

773
00:45:38,560 --> 00:45:42,440
Speaker 3: And then I saw James Brown in the middle seventies

774
00:45:42,480 --> 00:45:46,400
Speaker 3: and it was not that as the Apollo records.

775
00:45:46,440 --> 00:45:46,799
Speaker 2: It was not.

776
00:45:47,000 --> 00:45:52,920
Speaker 3: It was basically a tiny fan, you know, like a

777
00:45:53,000 --> 00:45:53,960
Speaker 3: half gift.

778
00:45:54,480 --> 00:45:58,239
Speaker 1: So sound is coming from like the actual guitar amp, yes, yes,

779
00:45:58,280 --> 00:45:59,760
Speaker 1: and not from the house speakers.

780
00:46:00,320 --> 00:46:01,720
Speaker 3: No, not that I remember.

781
00:46:01,960 --> 00:46:05,680
Speaker 1: Drums are coming live from the stage and not from absolutely.

782
00:46:05,800 --> 00:46:09,200
Speaker 3: Yes, yes, it's the answer to that. And you know what,

783
00:46:10,120 --> 00:46:14,319
Speaker 3: because there weren't a million concerts in San Diego, you're

784
00:46:14,480 --> 00:46:16,960
Speaker 3: good with that. You're breathing the same air. It's like

785
00:46:17,000 --> 00:46:20,800
Speaker 3: you're in the room with James Brown or BB King

786
00:46:21,040 --> 00:46:24,799
Speaker 3: or Fleetwood Mac, you know, like the one of the

787
00:46:24,800 --> 00:46:29,080
Speaker 3: early Fleetwood Macs, and it just incrementally got better. So

788
00:46:29,160 --> 00:46:32,040
Speaker 3: you mentioned Zeppelin. Yeah, Zeppelin improved the sound.

789
00:46:32,480 --> 00:46:35,319
Speaker 1: Yeah, I was gonna say, what was the what was

790
00:46:35,360 --> 00:46:40,600
Speaker 1: the first paradigm shift of concerts in which like it's like, whoa,

791
00:46:40,719 --> 00:46:41,640
Speaker 1: it's loud in here.

792
00:46:41,800 --> 00:46:44,000
Speaker 2: And I think I've seen an article or two about

793
00:46:44,040 --> 00:46:44,719
Speaker 2: them being so.

794
00:46:44,800 --> 00:46:47,720
Speaker 1: Loud that it caused a riot or something.

795
00:46:47,960 --> 00:46:49,440
Speaker 2: I barely remember it, but.

796
00:46:49,520 --> 00:46:52,719
Speaker 3: Yeah, that was one of my first concerts too, The Who,

797
00:46:53,719 --> 00:46:58,560
Speaker 3: and I got nosebleed seats and like wandered down close

798
00:46:58,640 --> 00:47:03,120
Speaker 3: to the floor from the bleachers, and then the lights

799
00:47:03,120 --> 00:47:05,200
Speaker 3: came down when the Who were coming on, and I

800
00:47:05,320 --> 00:47:10,000
Speaker 3: raced onto the floor and got sucked into like what

801
00:47:10,120 --> 00:47:16,279
Speaker 3: would be twelve row type distance from the band. But yes,

802
00:47:16,440 --> 00:47:19,439
Speaker 3: the volume was immediately so loud, and they had those

803
00:47:19,520 --> 00:47:23,880
Speaker 3: marshal stacks and stuff that everybody, you're right, that sound

804
00:47:24,040 --> 00:47:28,680
Speaker 3: was a call to like recklessness and abandon and I

805
00:47:28,719 --> 00:47:35,359
Speaker 3: got sucked into being almost pressed against the barrier when

806
00:47:35,400 --> 00:47:39,720
Speaker 3: the Who came on, and I thought I was gonna

807
00:47:39,760 --> 00:47:43,360
Speaker 3: get stampeded. I couldn't breathe, and it was there like

808
00:47:43,480 --> 00:47:47,640
Speaker 3: six feet away looking up and it was amazing. And

809
00:47:47,680 --> 00:47:49,759
Speaker 3: then I got pulled down and like spit out to

810
00:47:49,800 --> 00:47:53,520
Speaker 3: the side. But for like I can't explain, they were

811
00:47:53,640 --> 00:47:55,920
Speaker 3: right in front of me and Keith Moon and just

812
00:47:55,960 --> 00:47:59,000
Speaker 3: like I'll never forget it. It was Townsend in a silver

813
00:47:59,120 --> 00:48:02,279
Speaker 3: jumpsuit and he had a crown on his head and

814
00:48:02,320 --> 00:48:05,600
Speaker 3: he said, what a pleasure it is to be here

815
00:48:05,640 --> 00:48:09,600
Speaker 3: playing in your trash can, because the San Diego Sports

816
00:48:09,640 --> 00:48:11,520
Speaker 3: Arena is like a trash can, you know, so like

817
00:48:11,800 --> 00:48:15,600
Speaker 3: so he knows where he is right ripping on our arena,

818
00:48:16,080 --> 00:48:20,720
Speaker 3: and they're fucking amazing. And that was when I felt like, Okay,

819
00:48:20,760 --> 00:48:24,160
Speaker 3: this is beyond sitting in a gymnasium and listening to

820
00:48:24,440 --> 00:48:26,200
Speaker 3: like a tinny stereo.

821
00:48:26,760 --> 00:48:32,839
Speaker 1: Great question, do you miss the danger element of rock

822
00:48:32,920 --> 00:48:36,280
Speaker 1: and roll or what it's supposed to represent?

823
00:48:37,120 --> 00:48:41,520
Speaker 3: Yeah, the sound was a call to violence. The sound

824
00:48:41,719 --> 00:48:45,520
Speaker 3: was a cault that said, you're with us, it's us,

825
00:48:45,600 --> 00:48:50,480
Speaker 3: it's us now, it's just us now. And that was like, fuck, yeah,

826
00:48:50,680 --> 00:48:54,480
Speaker 3: that that feeling. I haven't felt felt it in Seattle

827
00:48:54,880 --> 00:48:57,960
Speaker 3: when everything was firing with Pearl Jam and I didn't

828
00:48:57,960 --> 00:49:02,120
Speaker 3: see Nirvana ever live, but like Alison Chains and some

829
00:49:02,160 --> 00:49:04,919
Speaker 3: of those bands like that had that feeling which had

830
00:49:04,960 --> 00:49:08,399
Speaker 3: disappeared in La. So being in Seattle, I was really

831
00:49:08,400 --> 00:49:10,919
Speaker 3: excited about it, but that I haven't seen it a well,

832
00:49:11,000 --> 00:49:13,080
Speaker 3: like I saw the Stones on the last tour. It

833
00:49:13,200 --> 00:49:17,160
Speaker 3: was super loud and it sounded really great, but it

834
00:49:17,280 --> 00:49:21,000
Speaker 3: wasn't a call to It was a call to luxury

835
00:49:21,160 --> 00:49:24,400
Speaker 3: really because it was the you know, the big stadium

836
00:49:24,480 --> 00:49:27,040
Speaker 3: and the sound was great, and you know, it was

837
00:49:27,040 --> 00:49:30,040
Speaker 3: a lifestyle experience and so but it was way different.

838
00:49:30,680 --> 00:49:33,799
Speaker 1: So I have a general theory, especially with music, that

839
00:49:33,960 --> 00:49:38,880
Speaker 1: often when something arrives in hindsight, it's really the end

840
00:49:38,880 --> 00:49:41,759
Speaker 1: of the sentence. I would imagine that for those that

841
00:49:42,400 --> 00:49:48,680
Speaker 1: had the Woodstock experience, that that was an arrival of

842
00:49:49,280 --> 00:49:52,080
Speaker 1: our generation, our voices, and it turned out to be

843
00:49:52,160 --> 00:49:56,240
Speaker 1: the end of it. Some could say the mass success

844
00:49:56,280 --> 00:50:01,040
Speaker 1: of Saturday Night Fever was all right, this is the

845
00:50:01,120 --> 00:50:05,520
Speaker 1: truth flag planning, arrival of Disco, and it wound up

846
00:50:05,520 --> 00:50:09,279
Speaker 1: being the end of it. Right now, I probably am

847
00:50:09,320 --> 00:50:14,400
Speaker 1: the only human being on earth that might have Thriller regrets.

848
00:50:14,920 --> 00:50:18,239
Speaker 1: You know, at the time, it seemed like, oh my god,

849
00:50:18,280 --> 00:50:20,520
Speaker 1: this is the rival of Michael Jackson. All the exciting

850
00:50:20,560 --> 00:50:23,360
Speaker 1: things that my eleven year old self got to witness

851
00:50:23,440 --> 00:50:27,040
Speaker 1: during that time period. But now I could probably name

852
00:50:27,160 --> 00:50:31,480
Speaker 1: forty things that Thriller has caused, including the end of

853
00:50:31,480 --> 00:50:36,080
Speaker 1: Michael Jackson, that would make me if asked, did Thriller

854
00:50:36,120 --> 00:50:37,240
Speaker 1: do more harm than good?

855
00:50:37,440 --> 00:50:39,040
Speaker 2: I might have some notes for you.

856
00:50:39,360 --> 00:50:41,840
Speaker 3: That's Elton John's theory the Thriller.

857
00:50:42,080 --> 00:50:44,759
Speaker 1: Ki At the end of the day, if there's one

858
00:50:44,800 --> 00:50:47,600
Speaker 1: thing I can say about Thriller when we talked about

859
00:50:47,640 --> 00:50:51,319
Speaker 1: Off the Wall, it was quality. Yes, how great this

860
00:50:51,400 --> 00:50:55,719
Speaker 1: record sounds. Now there's a new Q word, quantity. How

861
00:50:55,760 --> 00:50:57,759
Speaker 1: many words did it do? How much money he made,

862
00:50:57,840 --> 00:51:00,640
Speaker 1: how many records he broke? That's right, And when you

863
00:51:00,680 --> 00:51:04,759
Speaker 1: start chasing that dragon, there's no place to go but leave,

864
00:51:05,280 --> 00:51:05,640
Speaker 1: you know.

865
00:51:06,080 --> 00:51:11,480
Speaker 3: Because a lot of times the person who establishes who

866
00:51:11,520 --> 00:51:14,160
Speaker 3: finds that kind of success that they sought for a

867
00:51:14,200 --> 00:51:17,920
Speaker 3: long time, freezes at that moment. And that's why the

868
00:51:17,960 --> 00:51:21,399
Speaker 3: album after, which usually is huge because of the album

869
00:51:21,440 --> 00:51:24,600
Speaker 3: that came before, and it's not the album for so

870
00:51:24,640 --> 00:51:26,560
Speaker 3: they get a claim on the album that is not

871
00:51:26,680 --> 00:51:30,680
Speaker 3: as good. Michael was able to fucking really top off

872
00:51:30,719 --> 00:51:34,920
Speaker 3: the wall. Yeah. Many artists would just do like a fucking.

873
00:51:35,320 --> 00:51:38,360
Speaker 2: A record of a record or what do you call it,

874
00:51:38,480 --> 00:51:39,400
Speaker 2: departure album?

875
00:51:39,760 --> 00:51:42,760
Speaker 3: Yeah, yeah, yeah, yeah, and then and it would be huge,

876
00:51:42,920 --> 00:51:45,560
Speaker 3: but it wouldn't be their best. So that was an

877
00:51:45,560 --> 00:51:48,160
Speaker 3: interesting thing that happened. And yes it did. It brought

878
00:51:48,200 --> 00:51:52,719
Speaker 3: a lot of rain. This is the best thing, I mean,

879
00:51:52,880 --> 00:51:55,800
Speaker 3: to have a conversation like, this is the best. That's

880
00:51:55,840 --> 00:51:58,759
Speaker 3: the fan experience that you care enough to do it

881
00:51:58,840 --> 00:51:59,319
Speaker 3: to have it.

882
00:52:00,280 --> 00:52:03,400
Speaker 1: Well, let me ask you, at the time when Runge

883
00:52:03,760 --> 00:52:06,400
Speaker 1: is really planning its flag and making itself known and

884
00:52:06,440 --> 00:52:09,560
Speaker 1: you know, all the groups, like everything that's happening in Seattle,

885
00:52:10,920 --> 00:52:16,680
Speaker 1: did you at the time feel like, okay, like integrities,

886
00:52:17,400 --> 00:52:18,719
Speaker 1: integrities back in rock and.

887
00:52:18,719 --> 00:52:25,920
Speaker 2: Roll and now we're here only to realize that.

888
00:52:26,200 --> 00:52:30,680
Speaker 1: Oh not only it wound up being the end of

889
00:52:30,800 --> 00:52:31,399
Speaker 1: rock and roll.

890
00:52:31,520 --> 00:52:33,640
Speaker 2: In my opinion, that's.

891
00:52:33,480 --> 00:52:36,880
Speaker 3: A really valid theory when it gets to a certain size

892
00:52:38,120 --> 00:52:42,279
Speaker 3: thriller size, or Vogue calls because they're going to do

893
00:52:42,320 --> 00:52:45,719
Speaker 3: a grunge cover and stuff. That's you know, that's the end.

894
00:52:46,360 --> 00:52:50,040
Speaker 3: You know that the end, And I think very few

895
00:52:50,040 --> 00:52:54,120
Speaker 3: people are able to step back seeing that coming. I

896
00:52:54,200 --> 00:52:57,760
Speaker 3: really admire Harry Styles because Harry Styles reached a certain

897
00:52:57,800 --> 00:53:00,680
Speaker 3: point and then pulled back. You know, you don't hear

898
00:53:00,719 --> 00:53:06,480
Speaker 3: about him so much, right mart He didn't over do

899
00:53:07,280 --> 00:53:09,640
Speaker 3: the brew. You know, it was like he was like, Okay,

900
00:53:09,680 --> 00:53:12,920
Speaker 3: I'm gonna step back and try and keep it contained

901
00:53:12,960 --> 00:53:16,480
Speaker 3: to a certain degree. I think. So I admire that,

902
00:53:16,719 --> 00:53:20,880
Speaker 3: but that doesn't happen very often. And yeah, it floats

903
00:53:20,960 --> 00:53:24,720
Speaker 3: up into this like high end of the mainstream where

904
00:53:25,200 --> 00:53:28,440
Speaker 3: everybody is a carnivore kind of for that thing, and

905
00:53:28,480 --> 00:53:33,520
Speaker 3: then it's it's terrible. Worse than terrible, it's over. It's

906
00:53:33,560 --> 00:53:36,600
Speaker 3: exactly what you're saying. But it felt like an integrity

907
00:53:36,600 --> 00:53:41,240
Speaker 3: flag had been planted for sure in Seattle at that time.

908
00:53:42,000 --> 00:53:45,720
Speaker 1: So what were your real time thoughts of the eighties,

909
00:53:46,200 --> 00:53:49,280
Speaker 1: You know, what was it like to hear Neil Young's

910
00:53:49,280 --> 00:53:52,600
Speaker 1: trans record. Were you breathing a sigh of relief when

911
00:53:52,719 --> 00:53:57,280
Speaker 1: Infidels came out after the Christian period, did you feel

912
00:53:57,320 --> 00:54:00,000
Speaker 1: like a a stranger in a lost lane?

913
00:54:00,080 --> 00:54:05,920
Speaker 3: And I was excited. I remember when when Don Kirshner's

914
00:54:06,040 --> 00:54:09,160
Speaker 3: Rock Concert came out and a lot of bands were

915
00:54:09,160 --> 00:54:12,319
Speaker 3: on that you could see bands playing. That was the

916
00:54:12,360 --> 00:54:15,960
Speaker 3: beginning of MTV. Was really exciting because that's like one

917
00:54:16,120 --> 00:54:19,239
Speaker 3: or eighty two, something like that, maybe eighty three, So

918
00:54:19,280 --> 00:54:23,719
Speaker 3: that defines the eighties and it was really all of

919
00:54:23,760 --> 00:54:26,680
Speaker 3: a sudden you couldn't just be Tom Petty making those

920
00:54:26,719 --> 00:54:31,080
Speaker 3: great records. You had to have like that incredible don't

921
00:54:31,120 --> 00:54:34,200
Speaker 3: come around here, no more video, So you needed to

922
00:54:34,239 --> 00:54:38,920
Speaker 3: add another superpower. And that was interesting to see who

923
00:54:38,960 --> 00:54:41,200
Speaker 3: failed and who made it, And I mean it's a

924
00:54:41,360 --> 00:54:44,840
Speaker 3: point to be debated, like who was able to survive

925
00:54:44,880 --> 00:54:49,040
Speaker 3: and who wasn't and how Craven was the MTV thing.

926
00:54:49,080 --> 00:54:52,040
Speaker 3: But for a long time I loved having that kind

927
00:54:52,040 --> 00:54:55,920
Speaker 3: of access. Then of course the hair bands kind of

928
00:54:55,960 --> 00:54:58,799
Speaker 3: started to take over, and that seemed really cheesy in

929
00:54:59,000 --> 00:55:03,080
Speaker 3: La To and that kind of spun me up to Seattle,

930
00:55:03,920 --> 00:55:08,399
Speaker 3: where I loved hearing like the radio station up there

931
00:55:08,560 --> 00:55:11,960
Speaker 3: that would combine like all kinds of genres and everything

932
00:55:12,239 --> 00:55:18,279
Speaker 3: and yes, I did love Infidels. That Pivot was really

933
00:55:18,320 --> 00:55:22,240
Speaker 3: sweet and a great album cover. But I didn't hate

934
00:55:22,280 --> 00:55:25,640
Speaker 3: the eighties until the eighties started to hate itself, and

935
00:55:25,719 --> 00:55:29,439
Speaker 3: then I was kind of ready to move on. I mean,

936
00:55:29,719 --> 00:55:33,080
Speaker 3: I liked Peter Gabriel, and I thought he used the

937
00:55:33,200 --> 00:55:37,040
Speaker 3: Forum really well. He was a great visual artist too,

938
00:55:37,360 --> 00:55:39,160
Speaker 3: you could say David Byrne maybe too.

939
00:55:39,920 --> 00:55:43,000
Speaker 1: Speaking of Gabriel, of course, you know, it's impossible to

940
00:55:44,120 --> 00:55:46,560
Speaker 1: you know, hear the Sow record or In Your Eyes

941
00:55:46,600 --> 00:55:51,080
Speaker 1: without thinking of say anything. But is it true that

942
00:55:51,200 --> 00:55:55,319
Speaker 1: initially you guys were using a Fishbone song in place of.

943
00:55:55,360 --> 00:55:59,799
Speaker 3: The Yeah, I think it was in the boneyard, was

944
00:55:59,840 --> 00:56:04,520
Speaker 3: like what he was playing when we yeah, yeah, yeah,

945
00:56:04,600 --> 00:56:07,279
Speaker 3: he's wearing the shirt he's wearing a Fishbone shirt in

946
00:56:07,360 --> 00:56:10,960
Speaker 3: the movie. Yeah and yeah. But when you look at

947
00:56:10,960 --> 00:56:13,239
Speaker 3: that in the editing room, it truly does look like

948
00:56:13,320 --> 00:56:16,920
Speaker 3: he's you know, stalking and heckling her with you know,

949
00:56:17,160 --> 00:56:19,960
Speaker 3: and she doesn't look too entranced by it all either.

950
00:56:20,360 --> 00:56:23,560
Speaker 3: With the wrong music, it looks like she's just annoyed.

951
00:56:24,480 --> 00:56:26,440
Speaker 3: But In Your Eyes was the only song where you

952
00:56:26,520 --> 00:56:28,600
Speaker 3: got like all the texture. And then it was a

953
00:56:28,680 --> 00:56:32,000
Speaker 3: quest to get you know that song, which was not easy.

954
00:56:31,920 --> 00:56:34,440
Speaker 2: So you had him play it live from that boombox.

955
00:56:35,000 --> 00:56:38,080
Speaker 3: He's playing Bonen in the boneyard when we film.

956
00:56:38,520 --> 00:56:40,360
Speaker 1: Oh, I thought you would have just done it and

957
00:56:40,480 --> 00:56:42,839
Speaker 1: post and added the song later, but.

958
00:56:43,360 --> 00:56:45,760
Speaker 3: We we did add the song later, but he's actually

959
00:56:45,960 --> 00:56:49,920
Speaker 3: we used music for music live and I always have

960
00:56:50,000 --> 00:56:53,480
Speaker 3: music playing in the takes and stuff that I don't know.

961
00:56:53,560 --> 00:56:57,359
Speaker 3: I mean, Cusack really loved Fishbone and I believed that

962
00:56:57,520 --> 00:57:00,160
Speaker 3: maybe that worked. That's who he was, that's wh who

963
00:57:00,200 --> 00:57:05,279
Speaker 3: he is, but it really didn't. But Gabriel did. And

964
00:57:05,400 --> 00:57:08,160
Speaker 3: the problem was he didn't want to give anybody that song,

965
00:57:08,920 --> 00:57:11,920
Speaker 3: so they were really oh man, there was a whole

966
00:57:12,840 --> 00:57:14,840
Speaker 3: thing about He didn't even want to take the phone

967
00:57:14,880 --> 00:57:17,840
Speaker 3: call and so he got talked to having a phone

968
00:57:17,840 --> 00:57:21,040
Speaker 3: call with me by David Geffen. And then when I

969
00:57:21,080 --> 00:57:23,320
Speaker 3: talked to him, they said, you're going to get a

970
00:57:23,360 --> 00:57:26,040
Speaker 3: phone call, like you're going to call him in Germany

971
00:57:26,160 --> 00:57:28,400
Speaker 3: at such and such an hour early in the morning,

972
00:57:28,440 --> 00:57:30,760
Speaker 3: and he's going to talk to you. And so I

973
00:57:30,840 --> 00:57:34,160
Speaker 3: talked to him and he in this really small voice,

974
00:57:34,200 --> 00:57:37,400
Speaker 3: he told me the song was too personal, couldn't let

975
00:57:37,480 --> 00:57:39,800
Speaker 3: us have it? And we'd send him a video, you know,

976
00:57:39,920 --> 00:57:43,680
Speaker 3: VHS to the movie, and I asked Tevi ray Vaughan

977
00:57:43,800 --> 00:57:46,320
Speaker 3: to score say anything too. I was really on a

978
00:57:46,400 --> 00:57:50,200
Speaker 3: quest to get really good music in there. But Gabriel

979
00:57:50,280 --> 00:57:51,360
Speaker 3: said no.

980
00:57:52,080 --> 00:57:53,080
Speaker 2: How did you bend him?

981
00:57:53,560 --> 00:57:56,480
Speaker 3: Well, I was putting the phone down, and I was

982
00:57:56,520 --> 00:58:00,960
Speaker 3: so heartbroken that I went fully junior high and I

983
00:58:01,000 --> 00:58:03,040
Speaker 3: pulled the phone back up, not even knowing if he'd

984
00:58:03,080 --> 00:58:05,000
Speaker 3: be on the phone still. And I just said, but

985
00:58:05,280 --> 00:58:10,840
Speaker 3: why and and he said, well, you know, I just

986
00:58:10,880 --> 00:58:14,360
Speaker 3: didn't think it worked when he took the overdose. And

987
00:58:14,360 --> 00:58:17,200
Speaker 3: I'm like, took the overdose. He goes, this isn't the

988
00:58:17,280 --> 00:58:21,080
Speaker 3: John Belushi movie. And I go, oh, my god, no no,

989
00:58:21,120 --> 00:58:23,480
Speaker 3: and he goes, oh, this is the teenage movie. And

990
00:58:23,520 --> 00:58:25,800
Speaker 3: I go yeah, and he goes, I haven't watched that yet.

991
00:58:26,040 --> 00:58:29,360
Speaker 3: You're envisioning the John Belushi movie within your eyes playing

992
00:58:29,360 --> 00:58:34,320
Speaker 3: when he od's he too? For like thirty years, I've

993
00:58:34,320 --> 00:58:35,200
Speaker 3: been haven't have.

994
00:58:35,200 --> 00:58:39,960
Speaker 1: Been weird, But okay, I'm dealing with a So I

995
00:58:40,000 --> 00:58:44,280
Speaker 1: got my first major rejection like a week ago, and

996
00:58:44,600 --> 00:58:47,960
Speaker 1: I don't know how to take it. Like I'm taking

997
00:58:48,000 --> 00:58:51,720
Speaker 1: it so personal, man, because this is a denial from

998
00:58:52,720 --> 00:58:54,840
Speaker 1: a hero and.

999
00:58:55,000 --> 00:58:59,760
Speaker 3: It hurts, It hurts, It hurts, may not.

1000
00:58:59,720 --> 00:59:03,400
Speaker 1: Be a dude on the real You and I are

1001
00:59:03,440 --> 00:59:07,200
Speaker 1: really a podcast, but maybe we should discuss that in

1002
00:59:07,280 --> 00:59:11,560
Speaker 1: the future, like do our conversations like Frost and Nixon

1003
00:59:11,680 --> 00:59:12,080
Speaker 1: or whatever.

1004
00:59:12,520 --> 00:59:15,520
Speaker 3: We both have to be Frost right right, we Frost.

1005
00:59:15,240 --> 00:59:18,480
Speaker 1: And Frost right in closing, And I know this is

1006
00:59:19,320 --> 00:59:27,440
Speaker 1: a tired question, but I'll ask your five non box set,

1007
00:59:27,720 --> 00:59:34,160
Speaker 1: non greatest hits, non live, five albums that you stand

1008
00:59:34,240 --> 00:59:39,959
Speaker 1: by as just definitive master works. I'm not even giving

1009
00:59:40,000 --> 00:59:42,040
Speaker 1: you the Desert Island disc or this is all you

1010
00:59:42,080 --> 00:59:44,560
Speaker 1: can listen to the rest of your life for house

1011
00:59:44,640 --> 00:59:46,919
Speaker 1: is on Fire and this is all you can save.

1012
00:59:48,080 --> 00:59:48,840
Speaker 2: Five records?

1013
00:59:49,440 --> 00:59:51,920
Speaker 3: Okay, I'm gonna give you four, and then the fifth

1014
00:59:51,960 --> 00:59:57,640
Speaker 3: one is fluid. I would say, what's going on? Marvin, Joni, Mitchell, Hejira,

1015
00:59:58,480 --> 01:00:03,520
Speaker 3: Beach Boys, Pet Sounds, who Live It Leads and no

1016
01:00:03,640 --> 01:00:08,200
Speaker 3: Live but oyeah, okay, no live, no life, Okay, fuck, Okay.

1017
01:00:09,240 --> 01:00:11,360
Speaker 2: I'll let that go. It's a it's a great album.

1018
01:00:12,560 --> 01:00:16,000
Speaker 3: Okay, thanks for that. This week. Like I told you

1019
01:00:16,040 --> 01:00:18,720
Speaker 3: when I saw you, I'm on such a tom Bell

1020
01:00:18,840 --> 01:00:21,919
Speaker 3: Spinners thing. I would say, the first Spinner's album right now,

1021
01:00:23,000 --> 01:00:27,320
Speaker 3: really yeah, I just love that record with only Don't

1022
01:00:27,360 --> 01:00:30,160
Speaker 3: let the Green Grass Fool You is not a perfect

1023
01:00:30,200 --> 01:00:33,320
Speaker 3: song on that album, so it's not totally perfect, but

1024
01:00:33,760 --> 01:00:35,200
Speaker 3: it's really speaking to me now.

1025
01:00:35,920 --> 01:00:38,640
Speaker 2: And that's the one you choose as the redheaded stepchild.

1026
01:00:39,040 --> 01:00:41,920
Speaker 3: Red headed Stepchild, which always leaves you know that that

1027
01:00:42,000 --> 01:00:44,000
Speaker 3: chair gets occupied by many.

1028
01:00:44,520 --> 01:00:46,920
Speaker 2: It gets played so much though like I wouldn't, I.

1029
01:00:46,880 --> 01:00:49,640
Speaker 3: Would all hangs together.

1030
01:00:49,960 --> 01:00:52,320
Speaker 2: I love it, I got it, okay.

1031
01:00:52,160 --> 01:00:53,920
Speaker 3: I can't get you out of my mind. I'm like,

1032
01:00:54,120 --> 01:00:57,440
Speaker 3: I'm owned. It's I have it. It's like I don't know,

1033
01:00:57,440 --> 01:00:58,640
Speaker 3: it's the happy sad thing.

1034
01:00:58,760 --> 01:00:59,640
Speaker 2: For what's going on.

1035
01:00:59,760 --> 01:01:04,240
Speaker 1: Do you see that as a total, a complete work

1036
01:01:04,280 --> 01:01:07,120
Speaker 1: from start to finish. Like for me, though, Side one

1037
01:01:07,600 --> 01:01:11,800
Speaker 1: is song one, absolutely holy holy side song too, and

1038
01:01:12,800 --> 01:01:15,600
Speaker 1: I consider that a four song record. I'm with you,

1039
01:01:16,400 --> 01:01:18,920
Speaker 1: and so for me there's side one the same with

1040
01:01:19,320 --> 01:01:23,120
Speaker 1: slies Fresh. I consider that all of side one just

1041
01:01:23,200 --> 01:01:29,080
Speaker 1: one song. And so but really, Hijeira more than hissing

1042
01:01:29,080 --> 01:01:29,880
Speaker 1: of the summer lawns.

1043
01:01:30,120 --> 01:01:34,280
Speaker 3: Oh yeah. His era is a journey. His era takes

1044
01:01:34,320 --> 01:01:37,360
Speaker 3: you on the ride. That was Prince's favorite. Jony album too.

1045
01:01:37,800 --> 01:01:39,520
Speaker 2: He put me on a hissing of the summer.

1046
01:01:40,400 --> 01:01:41,080
Speaker 3: The summer LUNs.

1047
01:01:41,200 --> 01:01:44,040
Speaker 1: Yeah, yeah, yeah, right, But for you, like, what is

1048
01:01:44,080 --> 01:01:46,720
Speaker 1: it about Hijira that speaks to you?

1049
01:01:47,400 --> 01:01:50,080
Speaker 3: I like the story behind it. I like how the

1050
01:01:50,120 --> 01:01:54,360
Speaker 3: package suits the music. I like that it was she

1051
01:01:54,480 --> 01:01:57,720
Speaker 3: blew off a tour, took a journey on her own,

1052
01:01:58,680 --> 01:02:02,360
Speaker 3: and wrote those songs mostly those songs on that journey,

1053
01:02:02,400 --> 01:02:05,760
Speaker 3: and I just I love the whole adventure of it,

1054
01:02:05,960 --> 01:02:08,200
Speaker 3: and it's and it's present in the music.

1055
01:02:08,960 --> 01:02:12,960
Speaker 1: So the backstory really does mean something like without the

1056
01:02:13,000 --> 01:02:14,880
Speaker 1: backstory of Nebraska, would you feel the.

1057
01:02:14,800 --> 01:02:15,520
Speaker 2: Same way about it?

1058
01:02:15,720 --> 01:02:20,280
Speaker 1: Or even a vonni Ver's album of him nursing a

1059
01:02:20,280 --> 01:02:24,000
Speaker 1: broken Heart with chicken Soup in Northern Exposure box setting.

1060
01:02:24,680 --> 01:02:27,400
Speaker 3: Come on, I love that. I love the whole story.

1061
01:02:28,920 --> 01:02:32,240
Speaker 3: That's why kind of went out and did all these interviews,

1062
01:02:32,280 --> 01:02:34,560
Speaker 3: I think is to like, what's the story behind the story?

1063
01:02:34,680 --> 01:02:36,040
Speaker 2: I love it, got it.

1064
01:02:36,600 --> 01:02:41,440
Speaker 3: That's why you, you know, put those reviews on your wall.

1065
01:02:41,600 --> 01:02:43,720
Speaker 2: It's like got it, liked.

1066
01:02:43,640 --> 01:02:47,440
Speaker 3: Having it there. The process of taking it and putting

1067
01:02:47,480 --> 01:02:49,200
Speaker 3: it on your wall, it's like all part of the

1068
01:02:49,240 --> 01:02:49,800
Speaker 3: same thing.

1069
01:02:50,360 --> 01:02:52,720
Speaker 1: I will wait till the Joni pick comes out to

1070
01:02:52,880 --> 01:02:57,480
Speaker 1: nerd out on you some more humble that someone that

1071
01:02:57,520 --> 01:03:01,560
Speaker 1: I admire and respects so much much, from your writing

1072
01:03:01,640 --> 01:03:03,520
Speaker 1: as a journalist to your film.

1073
01:03:03,360 --> 01:03:05,000
Speaker 2: Work and just your love of music.

1074
01:03:05,080 --> 01:03:07,800
Speaker 1: Like you are one of my north stars in terms

1075
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Speaker 1: of having it both, like I love creating music, but

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Speaker 1: I love absorbing it more and telling about it. And

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Speaker 1: I really owe that to you, And I thank you

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Speaker 1: for everything, and.

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Speaker 3: I can say so much of that right back to you,

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Speaker 3: and I will thank you so much, Thank you soon.

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Speaker 1: Quest Love Show is hosted by me Amir Quest Love Thompson.

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Speaker 1: The executive producers are Sean g Brian Calhoun and Me.

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Speaker 1: Produced by Britney Benjamin and Jake Payne. Produced for iHeart

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Speaker 1: by Noel Brown, Edited by Alex Conroyd. iHeart Video support

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Speaker 1: by Mark Canton, Logos Graphics and animation by Nick Aloe.

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Speaker 1: Additional support by Lance Coleman. Special thanks to Kathy Brown,

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Speaker 1: Special thanks to Sugar Steve Manzel. Please subscribe, rate, review,

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01:04:10,320 --> 01:04:13,920
Speaker 1: and share The Quest Love Show. Wherever you stream your podcast,

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01:04:14,400 --> 01:04:19,360
Speaker 1: make sure you follow us on socials That's at QLs.

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Speaker 1: Check out hundreds and hundreds of QLs episodes, including The

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Speaker 1: Quest Love Supreme shows and our podcast archives. Quest Love

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Speaker 1: Show is a production of iHeartRadio.