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Speaker 1: Pushkin. In two thousand and six, Justin Vernon started his

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Speaker 1: solo project, Bonivae, after the end of a romantic relationship

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Speaker 1: and the breakup of his college band. He recorded that

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Speaker 1: first album for Emma Forever Ago alone over three months

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Speaker 1: and his dad's hunting cabin deep in the woods of

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Speaker 1: western Wisconsin. His setup consisted of a small recording rig

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Speaker 1: and a couple of guitars. For sustenance, he d a

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Speaker 1: stash of fresh venison and watched old DVDs of Northern Exposure.

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Speaker 1: That debut was released in two thousand and eight to

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Speaker 1: critical acclaim. The album attracted the attention of other boundary

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Speaker 1: pushing artists like Kanye West and James Blake, both of

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Speaker 1: whom went on to become collaborators of Justin Vernon's In

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Speaker 1: the years since his debut release, Justin's music has evolved dramatically.

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Speaker 1: For one, Bonivere is no longer just a solo project.

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Speaker 1: It's still centered around Justin, but it now includes a

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Speaker 1: bunch of other musicians and collaborators, including his engineer Chris Messina. Today,

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Speaker 1: we'll revisit a conversation Rick Rubin had with Justin Vernon

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Speaker 1: and Chris Messina In twenty nineteen, Justin talks about how

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Speaker 1: allowing himself to be bored without any guilt led him

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Speaker 1: to creating his now classic debut. He also talks about

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Speaker 1: how the harshness of the Wisconsin winters, along with the

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Speaker 1: absence of any big city thrills, first influenced his sound,

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Speaker 1: and Justin explains his unwavering love for his favorite song

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Speaker 1: of all time, Fugitive by the Indigo Girls. This is

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Speaker 1: broken record liner notes for the Digital Age. I'm justin Michon.

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Speaker 1: Here's Justin Vernon and his engineer Chris Messina in conversation

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Speaker 1: with Rick Rubin. They dive right into the kind of

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Speaker 1: talk being at Shangri La inspires about building a live

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Speaker 1: work studio space far from the rest of the world.

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Speaker 1: Tell me about your place. I've heard great things about it. Well,

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Speaker 1: I me and Chris have been working it for many years.

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Speaker 1: It's under construction right now because we kind of we

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Speaker 1: hit a point where we needed to to spread out

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Speaker 1: a little bit. Tell me the whole story of how

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Speaker 1: it How did it come to pass? The house I

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Speaker 1: grew up in, it's only three miles from there, and

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Speaker 1: it's uh, my brother found it and it's on tape.

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Speaker 1: Ten acres, you know, super cheap and old. It was

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Speaker 1: an old, like seventies ranch house and that had indoor

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Speaker 1: pool and they had a yeah awesome. Yeah, we end

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Speaker 1: up making that our makeshift live room for many years.

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Speaker 1: But it's not ten acres in the woods, and it's

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Speaker 1: like my shit, you know. Yeah, and so but we

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Speaker 1: sort of did it d I Y for a while,

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Speaker 1: and then I found Chris and took him off of

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Speaker 1: a production touring thing and got him out there to

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Speaker 1: just basically make it proper, you know. And so we've

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Speaker 1: been kind of out of the d I Y zone

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Speaker 1: and more and like a trying to make a proper

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Speaker 1: tracking space for about eight seven year years. Now you've

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Speaker 1: been out there, I guess, Chris, how would you say

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Speaker 1: it changed from its DIY incarnation to the current one.

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Speaker 1: I feel like more less stuff falls off the walls

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Speaker 1: now maybe or something. Yeah, I'm not the one putting

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Speaker 1: stuff on the walls that. Yeah. I feel like we

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Speaker 1: did like a lot of teear tottering kind of before

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Speaker 1: I got there, and then even still after I did

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Speaker 1: just baby steps when we really just needed to do

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Speaker 1: one kind of big move. Yeah, But I think it's

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Speaker 1: just been getting the recording spaces, you know, more attractive sounding,

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Speaker 1: and then also improving all of the wellness spaces and

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Speaker 1: just the vibe of the place, because that's you know,

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Speaker 1: made a pretty good record with just a pretty cruddy studio. Yeah,

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Speaker 1: and then it's because the vibe is there, you know,

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Speaker 1: which obviously you understand pretty well. Yeah. Absolutely, And when

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Speaker 1: I just lived there too, like I lived there for

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Speaker 1: many years until I live in the guesthouse up back,

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Speaker 1: which is cool, but I'm I'm gonna build a house

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Speaker 1: next door actually, but just being in the studio and

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Speaker 1: it not being set up for really being having like

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Speaker 1: a home the home base or a really I don't know,

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Speaker 1: any kind of wellness vibe. It was just recording making music,

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Speaker 1: you know. Yeah. Yeah, So we went through like the

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Speaker 1: different iterations too, of like not knowing if we wanted

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Speaker 1: to be a commercial space or if we were going

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Speaker 1: to be a private space or just justin or what

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Speaker 1: the deal was going to be. And yeah, so we

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Speaker 1: went through all those different versions. We had to do

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Speaker 1: that to learn what we didn't like basically. Yeah, and

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Speaker 1: it's really just better off to be kind of a

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Speaker 1: friends and family zone and us it's it's the best

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Speaker 1: version of it. Absolutely. Yeah, that's that's pretty much how

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Speaker 1: we do it too. It's yea. And originally I didn't.

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Speaker 1: I didn't think anybody else would work here but us.

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Speaker 1: But then I was away and friend asked, oh, you

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Speaker 1: think we could work here. It's like, oh, that'd be cool.

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Speaker 1: And so now I like the idea because I've worked

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Speaker 1: so much over the course of my life that it's

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Speaker 1: like a way to trick myself into not being a workaholic.

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Speaker 1: There you go, that's that. We're just talking about that

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Speaker 1: in the way out here. It's like, man, it's like

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Speaker 1: I love music so much and I could do it

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Speaker 1: every single day. Yeah, but it's not a comfortable feeling

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Speaker 1: when you're like, is this all I am? Yeah, then

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Speaker 1: you can get caught up in it. For it's easy

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Speaker 1: too when you love something so much. But and I

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Speaker 1: don't know if work with a capital W is really

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Speaker 1: the name of the thing that we do because we

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Speaker 1: love it so much, but it's at the end of

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Speaker 1: the day, it is what you're spending time doing, right, absolutely, absolutely,

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Speaker 1: and and for most of my life it was in

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Speaker 1: you know, dark rooms with no window, dark little dirty rooms,

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Speaker 1: so most of my life was just like in really

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Speaker 1: unpleasant places. Yeah, it doesn't encourage you to be a

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Speaker 1: healthy person all the time either. And I think so

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Speaker 1: much of the inspiration of the work we do comes

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Speaker 1: from not just doing the work. The fuel that drives

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Speaker 1: the process comes from life outside of the studio. Yes, exactly,

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Speaker 1: it's exactly. The fuel has been my metaphor lately. It's

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Speaker 1: like gas and the tank healthy engines. You know, everything's

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Speaker 1: running on music is beautiful enough to be inspired by

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Speaker 1: only music. But then that isn't it. That's not a

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Speaker 1: closed circuit, right, So you gotta go out and go

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Speaker 1: to Grandma's house or whatever it is. Do you call

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Speaker 1: it a band? Yeah, idea project band. I don't know

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Speaker 1: what it is. Was it a clear like, tell me

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Speaker 1: from the beginning? How did it start? That's actually an

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Speaker 1: easier way to answer it. It's like I was in

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Speaker 1: a band with some of my closest friends and people

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Speaker 1: that grew up learning how to play music around and

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Speaker 1: we sort of had that mid twenties sort of breakup

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Speaker 1: winner separate ways, and I was kind of considering not

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Speaker 1: trying to make a career in music and maybe go

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Speaker 1: back to school and all this stuff but in that

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Speaker 1: very moment is when I sort of started making the

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Speaker 1: first songs for what would become Bonevair, And I remember

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Speaker 1: not having a name until I finished finished the album,

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Speaker 1: and I was watching Northern Exposure, that show from the

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Speaker 1: early nineties, and there's this episode where the first snow

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Speaker 1: falls and this little Alaskan town and everyone goes out

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Speaker 1: and greets each other like bon Boniev and I thought, well,

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Speaker 1: that's a good thing, because that's kind of what that's

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Speaker 1: I've always been inspired by where I'm from in all

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Speaker 1: that it lacks, you know, everything that it lacks, it

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Speaker 1: doesn't have that the other big cities in the world have.

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Speaker 1: There's something I've always enjoyed about and keyed in about

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Speaker 1: what it's like to be from where I'm from, and

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Speaker 1: how tough the winter makes you, and and how really

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Speaker 1: nobody has the time and energy to prove anything to

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Speaker 1: anyone else or something which can be very beneficial and

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Speaker 1: have its drawbacks as well. But that's that's where it

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Speaker 1: came from. So I thought, this, this Bonavie thing, it's

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Speaker 1: almost feels like a community, a town. Even though it

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Speaker 1: started with just me. I had this idea that it's

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Speaker 1: like it's gonna be a town or a little town,

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Speaker 1: or a growing thing or a greeting or something. And

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Speaker 1: and of course, at the end of the day, it's

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Speaker 1: a band, it's an artist, it's a thing, and so

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Speaker 1: I try not to be too precious about it. But

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Speaker 1: that's how I still believe in it. And you know,

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Speaker 1: eleven twelve years later, now I guess it is. It

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Speaker 1: really has blossomed into a real breathing community with love

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Speaker 1: and support and all everything beautiful. Yeah, did you make

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Speaker 1: the first album by yourself? Yeah? Tell me tell me

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Speaker 1: the story. Yeah, so I was. I was living in

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Speaker 1: North Carolina, and I'd started some of these things, and

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Speaker 1: as the band kind of broke up, I sort of

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Speaker 1: kind of high tailed it back to Wisconsin. I really

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Speaker 1: lived in Wisconsin my whole life, minus that year and

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Speaker 1: whatever amount of time I've been on the road. But

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Speaker 1: at that point, I'd never been on the road really before,

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Speaker 1: I'd never really had any paying music work other than

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Speaker 1: weekend bar gigs and guitar teaching. So I brought my

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Speaker 1: little Digio one pro tools rig and my macgi for

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Speaker 1: up to my dad's hunting cabin kind of an hour

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Speaker 1: north of where we grew up. And he just kind

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Speaker 1: of let me go in there, and I was like,

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Speaker 1: I don't know what I'm doing. If I go back

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Speaker 1: to school to be a music teacher, i'd have to

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Speaker 1: wait to the fall, and this was right in the winter,

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Speaker 1: and so he just let me set up there, and

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Speaker 1: I just had my little setup in a couple of

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Speaker 1: guitars and and I'd done some engineering and some making

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Speaker 1: some records before, but I had kind of just lost

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Speaker 1: some of the gear and so it was a very

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Speaker 1: very meager setup, which ended up being a really great thing.

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Speaker 1: And so the over kind of a three month period,

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Speaker 1: just kind of being there by myself unless my dad

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Speaker 1: would stop by over the weekend to work on a

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Speaker 1: sawmill or something like. I was just there letting myself

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Speaker 1: be bored, allowing myself to have a day where nothing

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Speaker 1: happened for the first time of my life and not

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Speaker 1: have any guilt about it. It was just the first

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Speaker 1: time I really truly was on my own. Beautiful. Do

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Speaker 1: you think of it as an enjoyable time? Yes, I

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Speaker 1: mean there were there was boredom. There was like sort

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Speaker 1: of just sitting there, maybe an unhealthy amount of a

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Speaker 1: lone time or something like that. But I do. I

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Speaker 1: look back at it as a very very positive experience

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Speaker 1: to let go of a lot of things too. I

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Speaker 1: was making it for myself. I had kind of given

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Speaker 1: up the idea of chasing anymore. And of course once

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Speaker 1: you're once you're done with chasing, you're arriving. Yes, giving

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Speaker 1: up on that idea. What would your days be like

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Speaker 1: like if you're alone for three months? Yeah, I'd wake

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Speaker 1: up and probably crack three eggs and some venison, you know,

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Speaker 1: because we'd do some hunting up there. But there was

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Speaker 1: a little TV up there in a DVD player, so

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Speaker 1: I'd watch a lot of The Northern Exposure And strangely

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Speaker 1: it's my favorite like thing, novel, book, show, whatever, of

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Speaker 1: all time, because you know, so there might be a

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Speaker 1: day where I only watch DVDs and you know, smoke

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Speaker 1: a joint and drink six beers for no reason or something.

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Speaker 1: Then then a day I would just wake up, go

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Speaker 1: sit on the computer stool and just be there in it.

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Speaker 1: You know, we're reworking and mixing and doing that thing

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Speaker 1: on that album I'm seeing about growing up and the

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Speaker 1: amount of boredom involved, you know, get home from school

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Speaker 1: and ye, what are you're supposed to do. Yeah, it's

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Speaker 1: like what do you do? So I'm wondering if if

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Speaker 1: putting yourself in that state somehow taps into something that

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Speaker 1: a lot of people feel more often than they realize.

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Speaker 1: That's just a real I mean, you did an extreme

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Speaker 1: thing by regular standards in our society, but it took

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Speaker 1: you to a place that's probably not so different than

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Speaker 1: growing up in the United States, but without having anybody

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Speaker 1: like get outside or yeah, you do this or you

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Speaker 1: do that. Yeah, my parents gave it. My dad and

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Speaker 1: this case gave me a very supportive experience, or supported experience,

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Speaker 1: i should say. And it was it was that that

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Speaker 1: boredom was like, huh, you spent a lot of time

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Speaker 1: being busy and overworked, and I just I just recently

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Speaker 1: had quit a job at a kitchen that had really

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Speaker 1: created new anger and stress in my in my mind

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Speaker 1: and body. You know, never have I been that stressed

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Speaker 1: or angry or overworked. And and so I think it

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Speaker 1: was I just sort of looked at as like, well,

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Speaker 1: I don't know what I'm doing, and I there was

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Speaker 1: something going on with these songs where I was like,

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Speaker 1: this is a new thing for me. Just keep working.

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Speaker 1: And I think just it was a correct, correct recipe

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Speaker 1: to be in the right headspace to make the right

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Speaker 1: kind of music. Did you do you toured the first album?

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Speaker 1: Toured the first album pretty a lot, you know, that

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Speaker 1: kind of smashed me up a bit, but not completely

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Speaker 1: smashed me up. And so we were making the second record.

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Speaker 1: By then, I was using a lot of musicians. You know,

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Speaker 1: I grew up playing in the jazz bands and I

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Speaker 1: had a nine piece band in high school to all

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Speaker 1: my friends with horns and everything. So it's a natural

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Speaker 1: inclination to want to be around more people. But what

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Speaker 1: naturally happened is I started to share some of the

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Speaker 1: load of the songwriting and but also very holding on

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Speaker 1: really tight and and this isn't a negative thing, but

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Speaker 1: I think in many ways I've stepped farther and farther

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Speaker 1: and farther back from the chief position of making the records.

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Speaker 1: And It's funny, after after making this, these four records,

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Speaker 1: I'm feeling like maybe a return to just hanging out

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Speaker 1: on my own for a for a year or something,

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Speaker 1: to get back to that place, because you know, I

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Speaker 1: so often would grow up play guitar and write a song,

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Speaker 1: sit and write, write this song down it. It went

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Speaker 1: from sort of that with the first record to almost

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Speaker 1: none of that with where we're at now in the

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Speaker 1: last you know, this this process this ten years, and

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Speaker 1: so I saw a lot of a lot of the

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Speaker 1: death of the ego in a good way and then

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Speaker 1: also being lost because at times because I didn't have

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Speaker 1: that connection to like what I knew was right when

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Speaker 1: I was all by myself, what I knew, what I

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Speaker 1: didn't have to answer to or you know, like I

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Speaker 1: didn't have Chris like and that sucks or that's really great,

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Speaker 1: either one or problematic answers for me sometimes when you're

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Speaker 1: when you're drifting farther aback away from your your frontal ego.

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Speaker 1: And so, you know, I see that happening in the

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Speaker 1: last ten years, that arc of sort of stepping back,

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Speaker 1: getting the music bigger and experimenting more and more. But

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Speaker 1: I'm feeling like, you know, I can't predict what the

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Speaker 1: next year is going to be like, but I'm feeling

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Speaker 1: like a little bit of a return to that interesting

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Speaker 1: that that place that's coming up kind of is the

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Speaker 1: Hunting Lodge still there? It is than ever. I get

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Speaker 1: along with my dad so well, but I don't think

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Speaker 1: it's it would be the same situation. He's built a

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Speaker 1: big barn, he's got a sawmill, and he's got like

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Speaker 1: four hundred maple trees tapped up there, and so he's

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Speaker 1: always got people around and and plus we've sort of

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Speaker 1: we've sort of made April Base into into that zone.

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Speaker 1: Even though we're not quite I don't quite have my

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Speaker 1: own room yet. We're working on that. That's in the

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Speaker 1: next year. So we'll be right back after the break

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Speaker 1: with more from Justin Vernon, Christmassina, and Rick Rubin. We're

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Speaker 1: back with more of Rick Rubin's conversation with Justin Vernon

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Speaker 1: and Chrismasina, who showed detail on Bonivar's latest release from

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Speaker 1: twenty nineteen. I comma, there's a million things to ask

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Speaker 1: you about the past, but for a moment, how do

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Speaker 1: songs typically start? Would you say your do you jam?

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Speaker 1: There's some improvisation in you know, studio setting, like maybe

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Speaker 1: not like instruments and stuff, but maybe some drum machines

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Speaker 1: and just looking for odd recipes that could create something

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Speaker 1: very surprising. It's probably our favorite thing to do, doing

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Speaker 1: some just playing in general. I grew up writing a

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Speaker 1: lot of songs on guitar, and it sort of just

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Speaker 1: stopped happening that way. And I've been playing a lot

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Speaker 1: more guitar lately and songs are trickling out, but there's

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Speaker 1: still this thing. I think as I've developed more as

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Speaker 1: a singer than maybe I was before, or where I

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Speaker 1: really started to hone in on the voice part of it,

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Speaker 1: I think I became less. It became less important for

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Speaker 1: me to write the song and be this songwriter person,

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Speaker 1: and more like, how do we how do I get

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Speaker 1: my voice on something that sounds interesting to my voice,

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Speaker 1: if you will, And so a lot of we do

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Speaker 1: a lot of improvisation or budding two things together, like

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Speaker 1: have a saxophone go through a harmonizer while I'm playing

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Speaker 1: it and singing it, or just looking for things to

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Speaker 1: clash or to make something that sounded brand new so

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Speaker 1: that it would be exciting to sing on. That's been

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Speaker 1: the main process, you know. And every once in a while,

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Speaker 1: maybe just a guitar riff would would PLoP in and

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Speaker 1: create a song in and of itself. But I'd say

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Speaker 1: that's been our biggest way of doing it, is just

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Speaker 1: looking for moments that seemed magical. Yeah, and it sounds

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Speaker 1: like mainly musical moments, so you'd be working on track

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Speaker 1: ideas essentially with the idea, does it start with that

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Speaker 1: feeling of this is interesting or does it start with

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Speaker 1: this is interesting I have I can see what I

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Speaker 1: would do on top both every times different and sometimes

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Speaker 1: just something sounds good so you want to keep it around,

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Speaker 1: but you're like, well, this isn't really going to be

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Speaker 1: for this project, so we don't know what to do

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Speaker 1: with those ones exactly. Like the two generally for USCO

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Speaker 1: go hand in hand. It's like when we hear something

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Speaker 1: that we've somehow come up with that sounds really interesting,

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Speaker 1: justin immediately wants to sing on it, and that's like, okay,

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Speaker 1: we're we're into something here. That's kind of the biggest

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Speaker 1: giveaway that we're onto something. Yeah, I might like a

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Speaker 1: lot of things. And again, if I don't have anything

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Speaker 1: to sing on it, it's sort of like, well maybe

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Speaker 1: we should give this to someone else. Yeah, and like

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Speaker 1: and any like, whenever you try and get him to

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Speaker 1: sing on something, it's like not a good not a

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Speaker 1: good vibe it springs forth. Yeah, absolutely, when it's there,

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Speaker 1: it's there, and it's not it's really not I think

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Speaker 1: with the With the previous record, twenty two million, we

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Speaker 1: did a lot more jamming. Granted it was over like

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Speaker 1: a period of five years that we were writing that

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Speaker 1: record or something, but there were some pretty extensive, long

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Speaker 1: multi person jams that would happen that we got some

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Speaker 1: stuff out of. But that was kind of a way

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Speaker 1: where Justin I think was maybe struggling with with trying

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Speaker 1: to get his songwriting going again. That was a way

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Speaker 1: for us to do it. It was bringing a lot

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Speaker 1: of people, make as much noise as we can for

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Speaker 1: a long period of time and see what happens, and

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Speaker 1: if there's any moments that pop through you can that

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Speaker 1: you could then like, hey what about that. Let's go

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Speaker 1: focus right in that little moment that happened. Either use

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Speaker 1: it directly. Usually that's what we do. We use that

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Speaker 1: moment directly and shape around it and like you know.

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Speaker 1: But this this album was definitely a lot more there's

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Speaker 1: more playing. We entered with a lot more intention on

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Speaker 1: a number of levels with this this record, the newest

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Speaker 1: record or more of the touring band than ever before

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Speaker 1: too yep, which was a great, great addition. Yeah, But

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Speaker 1: I think sonically, I think we've kind of quietly made

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Speaker 1: an active choice to not mess with his voice as

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Speaker 1: much as we had previously. We knew I think that

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Speaker 1: we were going to focus on the lyric content more

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Speaker 1: than we ever have. Not that we weren't saying something

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Speaker 1: before or Justin wasn't saying something, is that we wanted

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Speaker 1: it to be heard, and we wanted it to be

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Speaker 1: maybe clearer than it ever had been. Yeah, And so

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Speaker 1: I think with those may have been the two most

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Speaker 1: like sort of unspoken decisions for this record. We were

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Speaker 1: all aligned on that and everything else just came so

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Speaker 1: much easier. Yeah, Yeah, it was so much more, I

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Speaker 1: don't know, just free and easy. It was great. It

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Speaker 1: sounds like that can be going forward. It sounds like

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Speaker 1: there's that could be our job. Yeah. I think it

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Speaker 1: was a huge realization with with this, with finishing this

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Speaker 1: record as not as quickly but so much faster than

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Speaker 1: the previous one. Yes, that we were just like, oh,

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Speaker 1: this is what it can be all the time. Brad,

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Speaker 1: Brad Cook and I talked about I mean all three

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Speaker 1: of us did, but yeah, Brad and I talked about

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Speaker 1: that a lot of just like this is what we

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Speaker 1: can make it. Every time there was a breakthrough. Yeah,

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Speaker 1: this is all we got to do every time it's great.

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Speaker 1: Did you record many more than the songs that are

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Speaker 1: on the album or the songs on the album? Pretty much?

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Speaker 1: It that's pretty much it is? It usually that way? Yeah,

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Speaker 1: I think we pretty pretty early on know whether something's

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Speaker 1: going to get chased down further or not. So we

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Speaker 1: still have like fragments that will probably revisit in a

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Speaker 1: year or something. But from the yeah, I'm not sure.

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Speaker 1: I'm not. I don't have this feeling like there's like

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Speaker 1: great songs waiting us. We sort of like worked on

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Speaker 1: what we worked on. What was the thought on the title?

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Speaker 1: By the way, man, it's a it's it's really a

391
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Speaker 1: lot about this whole self care and and caring about

392
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Speaker 1: your friend thing. It's to me, it's that's the thing

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Speaker 1: that Bob Marley introduced me to when I was the kid.

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Speaker 1: Is this I and I. It's I and I, it's we,

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Speaker 1: You are me, I am you. Uh, this is all

396
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Speaker 1: of us kind of thing together, this this sort of

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Speaker 1: responsibility to one another, maybe responsibilities and even strong enough

398
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Speaker 1: a word, it's like we are connected. It's not just

399
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Speaker 1: like we choose to be or not. When we heard ourselves,

400
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Speaker 1: I feel like it has a reaction to others, and

401
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Speaker 1: so that that was my whole thing is just like

402
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Speaker 1: Marley vibes Rastafarian vibes, like it's uh, we are a

403
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Speaker 1: response posible for one another. It is a line that

404
00:21:12,396 --> 00:21:15,676
Speaker 1: no branches of a tree are so foolish that they

405
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Speaker 1: would fight with another branch on the tree. Yeah, exactly

406
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Speaker 1: exactly what I thought. Did this was half full what

407
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Speaker 1: I thought that, this was half flow from the guys

408
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Speaker 1: where I thought that this was held. Yeah, we recorded, uh,

409
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Speaker 1: we recorded this lie with a little orchestra, I guess,

410
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Speaker 1: or we called it the worm Crew ensemble of bizarre

411
00:22:16,636 --> 00:22:22,036
Speaker 1: kind of connected harmonica to saxophones and two trombones and violin.

412
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Speaker 1: Created some challenges sonically, but it was fun to play

413
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Speaker 1: an entire play an entire song with an ensemble live,

414
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Speaker 1: especially one with it was out of meter. Yeah. So,

415
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Speaker 1: I mean Rob, the arranger that I always love working with,

416
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Speaker 1: Rob moose He I'd been showing him this riff for years,

417
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Speaker 1: and I was always expecting that I would write another

418
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Speaker 1: portion of the song or something like that. But then

419
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Speaker 1: the end of the day, I was like, we just

420
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Speaker 1: got to try this idea because I always thought it'd

421
00:22:55,636 --> 00:22:58,916
Speaker 1: be so fun to improvise with like a small conducted

422
00:22:59,236 --> 00:23:04,236
Speaker 1: ensemble yea, And so he wrote really cool arrangements around

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Speaker 1: the guitar section, and then we sort of just dressed

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Speaker 1: it up a little bit. So there's obviously like overdubbs

425
00:23:13,156 --> 00:23:15,156
Speaker 1: and stuff, but yeah, the most of it's just a

426
00:23:15,196 --> 00:23:20,636
Speaker 1: guitar and the ensemble and the vocal. We did live

427
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Speaker 1: too that added vocals to it. But so it started

428
00:23:24,436 --> 00:23:27,756
Speaker 1: guitar and vocal, guitar, vocal and the ensemble all at once.

429
00:23:27,996 --> 00:23:30,316
Speaker 1: And then when when did the lyrics come? In the

430
00:23:30,356 --> 00:23:33,996
Speaker 1: process of writing, Like, I think I had this guitar

431
00:23:34,076 --> 00:23:37,116
Speaker 1: riff laying around for like years, and it was always

432
00:23:37,156 --> 00:23:39,396
Speaker 1: just I thought this was half a love. Thought that

433
00:23:39,396 --> 00:23:42,996
Speaker 1: this was half a love. Uh, followed to the raging. See,

434
00:23:43,156 --> 00:23:45,236
Speaker 1: that's all it ever was. And so Brad was just like,

435
00:23:45,276 --> 00:23:47,356
Speaker 1: why don't you just consider that's a that's a song

436
00:23:47,876 --> 00:23:50,076
Speaker 1: you can have. You can have a three two line song.

437
00:23:50,716 --> 00:23:54,356
Speaker 1: So accepted that, and it's like, oh I love this, Okay, great,

438
00:23:55,396 --> 00:23:58,356
Speaker 1: Uh yeah, that's kind of the story with that one.

439
00:23:58,396 --> 00:24:00,676
Speaker 1: It's just like, sometimes it's enough just to have a

440
00:24:00,716 --> 00:24:04,396
Speaker 1: small little idea absolutely, yeah, yeah, sometimes it's all it

441
00:24:04,476 --> 00:24:07,076
Speaker 1: wants to be. Yeah, if you try to force it,

442
00:24:07,156 --> 00:24:10,196
Speaker 1: you're what what are you doing? Cool? Pick another one?

443
00:24:10,316 --> 00:24:12,076
Speaker 1: Or do you want to see the list? Oh? Sure?

444
00:24:12,196 --> 00:24:16,036
Speaker 1: Let me think here? Uh sure, man like he's pretty good.

445
00:24:16,516 --> 00:24:19,716
Speaker 1: I like man like you. Let's try that one. M

446
00:24:29,476 --> 00:24:34,156
Speaker 1: I will see you now down the back of love Ridge.

447
00:24:34,476 --> 00:24:39,836
Speaker 1: There's just something that I got the soul you. There

448
00:24:40,036 --> 00:24:44,836
Speaker 1: is no man's right in the coming in case hit,

449
00:24:44,916 --> 00:24:51,836
Speaker 1: ain't nothing that you say, you with your arms. Track

450
00:24:52,196 --> 00:24:59,836
Speaker 1: and just give some time presently does include dudes and

451
00:25:00,076 --> 00:25:17,596
Speaker 1: just standing premissions mothers fairly repetition tell yourself for ta.

452
00:25:19,076 --> 00:25:21,876
Speaker 1: The big story with this one is that Bruce Hornsby.

453
00:25:22,116 --> 00:25:26,076
Speaker 1: It's Bruce Bruce's track like he just wrote he just had.

454
00:25:26,276 --> 00:25:28,316
Speaker 1: He came up. We were helping him with his record

455
00:25:28,636 --> 00:25:31,436
Speaker 1: and he just had this piano figure. He had it

456
00:25:31,476 --> 00:25:33,636
Speaker 1: on a burned CD. He brought over and was like,

457
00:25:33,956 --> 00:25:36,236
Speaker 1: what is that play? Yeah? I was like, first of all,

458
00:25:36,236 --> 00:25:40,036
Speaker 1: we have to buy a CD player now, But he

459
00:25:40,156 --> 00:25:42,756
Speaker 1: just played a bunch of this kind of music that

460
00:25:42,796 --> 00:25:44,076
Speaker 1: he'd been working on. I was like, what is that

461
00:25:44,116 --> 00:25:47,156
Speaker 1: track doing? Because it was one of those moments where

462
00:25:47,396 --> 00:25:50,356
Speaker 1: I was like I almost heard the entire melody, just

463
00:25:50,436 --> 00:25:52,156
Speaker 1: like I went in there and just like it was

464
00:25:52,236 --> 00:25:55,436
Speaker 1: just there. And had I not been a little more

465
00:25:55,436 --> 00:25:58,276
Speaker 1: open and like not so like I better be the

466
00:25:58,316 --> 00:26:01,076
Speaker 1: guy to write all these songs, I might not have

467
00:26:01,116 --> 00:26:02,876
Speaker 1: had that feeling. But it felt so good just to

468
00:26:02,956 --> 00:26:04,956
Speaker 1: jump on. And it's just a mood that I couldn't

469
00:26:04,996 --> 00:26:08,316
Speaker 1: have come up with. It feels so fun to to

470
00:26:08,316 --> 00:26:13,516
Speaker 1: sing on. I mean, Brad did so much bass playing

471
00:26:13,556 --> 00:26:16,316
Speaker 1: on the album. You know he's he's predominantly a bass player.

472
00:26:16,316 --> 00:26:22,676
Speaker 1: I'm kind of a cute bass player, acute, acute and cute.

473
00:26:23,996 --> 00:26:26,796
Speaker 1: But so we do a lot of playing bass in

474
00:26:26,836 --> 00:26:29,036
Speaker 1: the album where I would play it and then he'd

475
00:26:29,036 --> 00:26:30,836
Speaker 1: be like, I can do better, and then I can

476
00:26:30,876 --> 00:26:32,076
Speaker 1: be like, oh I liked what you did there, but

477
00:26:32,076 --> 00:26:35,436
Speaker 1: I'll kick your So we did a lot of that

478
00:26:35,516 --> 00:26:38,516
Speaker 1: on the on the album. I know I haven't heard

479
00:26:38,516 --> 00:26:40,796
Speaker 1: these I haven't heard the jam since we actually have

480
00:26:41,996 --> 00:26:45,796
Speaker 1: played all these shows. It's kind of interesting. Do they

481
00:26:45,796 --> 00:26:48,956
Speaker 1: transform live? They have transformed a lot live. You know

482
00:26:48,996 --> 00:26:53,516
Speaker 1: that our our band is awesome. I just love playing

483
00:26:53,956 --> 00:26:57,796
Speaker 1: with each other. They ultimately feel more alive, I mean

484
00:26:57,876 --> 00:27:00,956
Speaker 1: liter literally living, and I love I like records that

485
00:27:01,036 --> 00:27:04,476
Speaker 1: have scrapes, and you know they don't. I like records

486
00:27:04,516 --> 00:27:08,316
Speaker 1: that sound very high fi as well, But with our records,

487
00:27:08,316 --> 00:27:10,356
Speaker 1: I've sort of always tried to keep it a little

488
00:27:10,436 --> 00:27:15,756
Speaker 1: dusty or a little got some knicks and nicks in there.

489
00:27:15,996 --> 00:27:18,116
Speaker 1: How many people are in the band alive now it's six.

490
00:27:18,196 --> 00:27:21,036
Speaker 1: Now we've we've waxed and weighed on that we've had.

491
00:27:21,636 --> 00:27:23,876
Speaker 1: Last year we had like five trombone dudes from Richmond,

492
00:27:23,956 --> 00:27:28,996
Speaker 1: Virginia traveling with us at the dudes, what do we

493
00:27:29,036 --> 00:27:34,436
Speaker 1: call them? Bone trombone paradise. Trombone Paradise that's right now.

494
00:27:34,556 --> 00:27:37,236
Speaker 1: Now it's a lot of the same dudes that have

495
00:27:37,316 --> 00:27:38,956
Speaker 1: been in there a really long time. And then we

496
00:27:38,956 --> 00:27:41,876
Speaker 1: added this lady Jen Wasner who has this band Why Oak,

497
00:27:42,356 --> 00:27:46,596
Speaker 1: and she is a monster um having another high voice,

498
00:27:46,836 --> 00:27:50,836
Speaker 1: a higher voice, and she's also a crushing profit player

499
00:27:51,516 --> 00:27:53,636
Speaker 1: as guitar player and bass player as well. So shit,

500
00:27:53,956 --> 00:27:56,836
Speaker 1: it's been it's been really fun. And the songs they

501
00:27:56,876 --> 00:27:59,396
Speaker 1: just they just live and breathe. You're playing him rather

502
00:27:59,436 --> 00:28:01,836
Speaker 1: than like pressing play on him, you know what I mean.

503
00:28:01,916 --> 00:28:05,076
Speaker 1: I think we're staying truer to the record with the

504
00:28:05,076 --> 00:28:08,236
Speaker 1: most recent songs than we did with twenty two million.

505
00:28:08,236 --> 00:28:10,756
Speaker 1: I mean, those took on a whole new life lives

506
00:28:10,796 --> 00:28:13,716
Speaker 1: that are it's great, but I think with these, yeah,

507
00:28:13,716 --> 00:28:17,156
Speaker 1: they definitely live and breathe, but we're we're staying closer

508
00:28:17,156 --> 00:28:18,796
Speaker 1: to the record. It also makes sense that you said

509
00:28:18,836 --> 00:28:20,996
Speaker 1: there's more playing on the record too, so it's makes

510
00:28:20,996 --> 00:28:23,756
Speaker 1: sense too. Yeah, same people played it on the record

511
00:28:23,796 --> 00:28:27,996
Speaker 1: and now we're playing it live. It's makes sense. Yeah, absolutely,

512
00:28:29,356 --> 00:28:32,876
Speaker 1: not interpolating. Yeah, the picking and choosing with only having

513
00:28:33,076 --> 00:28:35,476
Speaker 1: six people is like, okay, well you we can't. We're

514
00:28:35,476 --> 00:28:37,636
Speaker 1: just physically can't play that part because we don't we

515
00:28:37,636 --> 00:28:40,396
Speaker 1: don't have any tracks or anything like that. Yea. So

516
00:28:40,956 --> 00:28:43,396
Speaker 1: making those choices is always like, Okay, what's the most

517
00:28:43,596 --> 00:28:46,676
Speaker 1: essential moment or can you play this one moment on guitar,

518
00:28:46,756 --> 00:28:48,596
Speaker 1: but then do the rest of it over here? You know,

519
00:28:48,796 --> 00:28:52,276
Speaker 1: making those choices has been really fun, I think this time. Yeah,

520
00:28:53,116 --> 00:28:55,956
Speaker 1: when we come back, Justin Vernon talks to Rick about

521
00:28:55,996 --> 00:29:01,036
Speaker 1: some of his favorite tracks of all time, and we're

522
00:29:01,076 --> 00:29:03,956
Speaker 1: back with the rest of Rick Rubin's conversation with Justin

523
00:29:04,116 --> 00:29:08,356
Speaker 1: Vernon and Chris Messina. What would you say in this

524
00:29:08,436 --> 00:29:12,876
Speaker 1: band or project what's your favorite part of it. It's

525
00:29:12,876 --> 00:29:15,996
Speaker 1: a great question. Lately, it's been if not all the

526
00:29:16,036 --> 00:29:18,036
Speaker 1: whole time. Is when we have a piece of music

527
00:29:18,076 --> 00:29:24,036
Speaker 1: that we can play, that that drifts, that is really alive,

528
00:29:24,636 --> 00:29:29,236
Speaker 1: that we don't have to follow follow the grid, or

529
00:29:29,596 --> 00:29:33,116
Speaker 1: or we don't use to click tracks or tracks really

530
00:29:33,756 --> 00:29:36,836
Speaker 1: but especially you know, there's a couple of songs that

531
00:29:36,876 --> 00:29:39,516
Speaker 1: we're playing live now from this record where it's like, wow,

532
00:29:39,556 --> 00:29:43,356
Speaker 1: we're really it's really a push and pull thing. There's

533
00:29:43,436 --> 00:29:46,716
Speaker 1: really a lot of group improvisation going on, group listening,

534
00:29:47,396 --> 00:29:51,796
Speaker 1: group reacting, And I really enjoy that because in one hand,

535
00:29:51,836 --> 00:29:54,636
Speaker 1: I've got this feeling like I love a song, I

536
00:29:54,716 --> 00:29:56,516
Speaker 1: love a good folks on that lets you know kind

537
00:29:56,516 --> 00:30:00,116
Speaker 1: of who he is right away. But I also love

538
00:30:00,516 --> 00:30:05,036
Speaker 1: Coltrane and I you know, music that that just makes

539
00:30:05,076 --> 00:30:09,876
Speaker 1: you feel strange. I like the combination of those two comforts. Yeah,

540
00:30:09,956 --> 00:30:13,516
Speaker 1: the feeling strange and the feeling comfortable. And what do

541
00:30:13,556 --> 00:30:16,516
Speaker 1: you listen to? Mostly? I mean I bounce around a lot.

542
00:30:16,596 --> 00:30:19,036
Speaker 1: I do listen everything. We grew up. I grew up

543
00:30:19,036 --> 00:30:22,316
Speaker 1: listening and studying jazz in school and stuff, and so

544
00:30:22,916 --> 00:30:24,556
Speaker 1: I was just exposed to a lot my parents and

545
00:30:24,676 --> 00:30:27,516
Speaker 1: musical folks, and so what would be the music like

546
00:30:27,556 --> 00:30:29,636
Speaker 1: growing up in the house, what would your parents play?

547
00:30:29,956 --> 00:30:33,076
Speaker 1: John Prine was probably number one, And a matter of fact,

548
00:30:33,116 --> 00:30:37,236
Speaker 1: he's probably like the He's the backbone of our spiritual

549
00:30:37,236 --> 00:30:40,676
Speaker 1: philosophy as a family. I guess I would say that

550
00:30:40,676 --> 00:30:42,676
Speaker 1: that that was the he was the main one. I

551
00:30:42,716 --> 00:30:46,196
Speaker 1: think you could distill all other listening visa v. John Prine,

552
00:30:46,956 --> 00:30:49,916
Speaker 1: And do you did you extend from John Prine into others,

553
00:30:49,996 --> 00:30:53,156
Speaker 1: like in the singer songwriter world, was that? Yeah? Dylan

554
00:30:53,196 --> 00:30:58,796
Speaker 1: came pretty pretty close after and still still very central,

555
00:30:59,076 --> 00:31:02,076
Speaker 1: you know, my understanding of the craft of like writing

556
00:31:02,076 --> 00:31:05,356
Speaker 1: a song on the guitar, you know, with that whole tradition.

557
00:31:05,716 --> 00:31:08,836
Speaker 1: So in both cases, would it be a lyric centric

558
00:31:09,236 --> 00:31:14,356
Speaker 1: raw started out that way? I think, I think once

559
00:31:14,076 --> 00:31:16,676
Speaker 1: when I saw how complete a song could be with

560
00:31:16,756 --> 00:31:20,516
Speaker 1: such little lyricism, when I when I with John Prine,

561
00:31:20,716 --> 00:31:24,876
Speaker 1: especially you know, compared to Dylan or something. But kind

562
00:31:24,916 --> 00:31:27,476
Speaker 1: of right after that, I always liked a good lyric

563
00:31:28,076 --> 00:31:30,196
Speaker 1: But as you know, that would have been when I

564
00:31:30,236 --> 00:31:32,196
Speaker 1: was like, you know, eleven twelve, when I actually get

565
00:31:32,236 --> 00:31:34,236
Speaker 1: my own discman and listen to John Prine, on my own.

566
00:31:34,276 --> 00:31:36,396
Speaker 1: You know. So, did you start writing songs as a kid?

567
00:31:36,716 --> 00:31:39,036
Speaker 1: I did, Yeah, UM write it like when I was

568
00:31:39,076 --> 00:31:41,636
Speaker 1: twelve or thirteen. I'd write little songs about like my

569
00:31:41,676 --> 00:31:45,236
Speaker 1: friends at camp or stuff like that. It's just something

570
00:31:45,236 --> 00:31:47,876
Speaker 1: that came pretty naturally to me. Would you call them

571
00:31:47,876 --> 00:31:50,676
Speaker 1: folk songs? Yeah, I don't know. I think I was

572
00:31:50,716 --> 00:31:52,956
Speaker 1: probably listening to like Pearl Jam and Nirvana, so I

573
00:31:52,996 --> 00:31:54,556
Speaker 1: was probably just like, oh, these are just songs, man.

574
00:31:55,116 --> 00:31:58,676
Speaker 1: I don't know what I was thinking. Actually, if you

575
00:31:58,716 --> 00:32:01,316
Speaker 1: would describe them now, what would you say they would

576
00:32:01,396 --> 00:32:03,596
Speaker 1: rooted in? Would they be like a Pearl Jam song

577
00:32:03,716 --> 00:32:06,876
Speaker 1: played on acoustic guitar? Yeah, I think they're probably they're

578
00:32:06,876 --> 00:32:10,436
Speaker 1: probably the early days, more prime, more just three chords

579
00:32:10,436 --> 00:32:13,276
Speaker 1: in the truth kind of situation. But then shortly, you know,

580
00:32:13,396 --> 00:32:16,676
Speaker 1: then eventually get into alternate tunings, and then you're listening

581
00:32:16,676 --> 00:32:20,076
Speaker 1: to Joni Mitchell and then it gets a little farther out.

582
00:32:20,196 --> 00:32:23,196
Speaker 1: Who would you say would be the singers that inspire

583
00:32:23,276 --> 00:32:27,516
Speaker 1: you or excite you? There's always three I think of

584
00:32:28,716 --> 00:32:36,076
Speaker 1: My first favorite was Amy Ray from Indigo Girls. She

585
00:32:36,316 --> 00:32:38,636
Speaker 1: had this there's this folk thing going on in that

586
00:32:39,236 --> 00:32:42,036
Speaker 1: their group and songwriting, but she was yelling a lot,

587
00:32:42,116 --> 00:32:45,756
Speaker 1: and like, there's this fever that was just so connected

588
00:32:45,796 --> 00:32:48,516
Speaker 1: to her spirit and what she was trying to communicate

589
00:32:48,556 --> 00:32:51,756
Speaker 1: in her songs. Was she still communicating in her songs

590
00:32:52,516 --> 00:32:57,236
Speaker 1: and that that sort of unbridled yelling and sort of

591
00:32:57,316 --> 00:32:59,556
Speaker 1: like this when you lose it? Yeah, can you think

592
00:32:59,596 --> 00:33:01,876
Speaker 1: of a good example, because i'd love to hear. My

593
00:33:01,956 --> 00:33:04,316
Speaker 1: favorite song of all time is called Fugitive. That's like

594
00:33:04,316 --> 00:33:06,396
Speaker 1: my number one song. That's the Indigo Girls. And maybe

595
00:33:06,516 --> 00:33:09,476
Speaker 1: maybe that's not her yelling, but she's definitely like pushing

596
00:33:09,556 --> 00:33:11,796
Speaker 1: her voice. It's my number my number one favorite song

597
00:33:11,836 --> 00:33:15,196
Speaker 1: of all time. They played that in Missoula, right, brought

598
00:33:15,276 --> 00:33:18,836
Speaker 1: it brought you? I mean I literally had to sit down.

599
00:33:17,836 --> 00:33:22,276
Speaker 1: It's just like I can't believe this just happened. Let's

600
00:33:22,276 --> 00:33:25,516
Speaker 1: listen to it. Yeah, this is my favorite song, my

601
00:33:25,556 --> 00:33:45,516
Speaker 1: favorite album. I think when I was twelve, like my

602
00:33:45,556 --> 00:33:47,756
Speaker 1: mom and sister got me into them, and I think

603
00:33:47,796 --> 00:33:51,836
Speaker 1: I was like, so, Mom, they're they're gay, you know,

604
00:33:51,956 --> 00:33:55,196
Speaker 1: like and then just realizing they have all these problems

605
00:33:55,276 --> 00:33:59,836
Speaker 1: because of that, and like Okay, for some reason, I

606
00:33:59,916 --> 00:34:02,836
Speaker 1: was just like, well, this is wrong that that that

607
00:34:02,916 --> 00:34:05,916
Speaker 1: they have issues, you know, like I don't understand. And

608
00:34:05,956 --> 00:34:10,036
Speaker 1: then that gave me more of my adoreded them more

609
00:34:10,036 --> 00:34:12,036
Speaker 1: and more and more. The more they had strength in

610
00:34:12,076 --> 00:34:15,876
Speaker 1: the face of their adversity and that, but they never

611
00:34:15,916 --> 00:34:19,676
Speaker 1: became bitter. They have feelings about it. I don't know,

612
00:34:19,716 --> 00:34:24,396
Speaker 1: they're just they're They're my favorite group ever. Uh and

613
00:34:24,516 --> 00:34:26,916
Speaker 1: Emily the Harmony, the other singer. She writes all the

614
00:34:27,076 --> 00:34:29,516
Speaker 1: other songs too. I mean, they're both just together. It's

615
00:34:30,476 --> 00:34:33,876
Speaker 1: it's like my favorite shit. But Donnie Hathaway and Bonnie

616
00:34:33,956 --> 00:34:36,196
Speaker 1: Raid are probably my other two, just like as far

617
00:34:36,236 --> 00:34:40,476
Speaker 1: as soul. Yeah, the thing that moved me most was

618
00:34:40,596 --> 00:34:44,316
Speaker 1: after the first sort of rocking part, it drops down

619
00:34:44,476 --> 00:34:50,996
Speaker 1: into a very into unexpected intimate moment just for a moment. Yeah,

620
00:34:51,476 --> 00:34:55,236
Speaker 1: but it got real. Yeah, you got really really got real. Yeah.

621
00:34:55,276 --> 00:34:58,556
Speaker 1: And it's good feeling. Yeah, that's the feeling, man, that's

622
00:34:58,556 --> 00:35:01,476
Speaker 1: the feeling. Like I mean, I tattooed those lyrics on

623
00:35:01,476 --> 00:35:03,316
Speaker 1: my chest for a reason. It's like, this is what

624
00:35:03,356 --> 00:35:05,276
Speaker 1: I want to be carrying around it. That's the feeling.

625
00:35:05,316 --> 00:35:07,996
Speaker 1: When she when we get to that verse, you're like

626
00:35:08,276 --> 00:35:11,076
Speaker 1: you're exposed from all this yelling and this guitar sol

627
00:35:11,156 --> 00:35:14,276
Speaker 1: and this orchestration, and then it all goes away. You're

628
00:35:14,276 --> 00:35:17,636
Speaker 1: just back to this place where it's like we need

629
00:35:17,676 --> 00:35:19,916
Speaker 1: to we need to learn how to respect what we

630
00:35:19,956 --> 00:35:22,716
Speaker 1: don't understand. We are fortunate ones. We are fortunate ones.

631
00:35:22,756 --> 00:35:26,316
Speaker 1: I swear. It's just like the best thing you can say.

632
00:35:26,436 --> 00:35:28,676
Speaker 1: It's like we don't know anything and we have to

633
00:35:28,716 --> 00:35:32,356
Speaker 1: try to learn and we have to understand that how

634
00:35:32,436 --> 00:35:35,316
Speaker 1: lucky we are. Beautiful. That's that's that's why it's my

635
00:35:35,356 --> 00:35:40,036
Speaker 1: favorite song. But yeah, it's it's a displaying intimacy and

636
00:35:41,396 --> 00:35:44,596
Speaker 1: vulnerability is a really important part of communicating as a

637
00:35:44,676 --> 00:35:47,156
Speaker 1: human being, and it is a musician or songwriter. It's

638
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Speaker 1: like you have to be able to be like, yes

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Speaker 1: I am I feel awful or yes I am scared.

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Speaker 1: You know. I think there's such valuable things in our

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Speaker 1: valuable assets to ourselves vulnerability. You know, it's beautiful. Thanks

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Speaker 1: to Justin Vernon and Christmasina for sharing their career vision

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Speaker 1: for Bonivair with Gray. Do you hear our favorite Bonivare songs?

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Speaker 1: Check out the playlist at Broken record podcast dot com.

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Speaker 1: Be sure to subscribe to our YouTube channel at YouTube

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Speaker 1: dot com slash broken record Podcast, where can find all

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Speaker 1: of our new episodes. You can follow us on Twitter

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00:36:26,476 --> 00:36:29,276
Speaker 1: at broken Record. Broken Record is produced with help from

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00:36:29,356 --> 00:36:33,836
Speaker 1: Lea Rose, Jason Gambrel, Entaladay, Eric Sandler, and Jennifer Sanchez,

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00:36:33,996 --> 00:36:37,636
Speaker 1: with engineering help from Nick Chafee. Our executive producer is

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Speaker 1: Mel Lobell. Broken Record is a production of Pushkin Industries.

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Speaker 1: If you like this show and others from Pushkin, consider

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00:36:44,476 --> 00:36:48,636
Speaker 1: subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription

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00:36:48,716 --> 00:36:52,076
Speaker 1: that offers bonus content an uninterrupted ad free listening for

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00:36:52,156 --> 00:36:55,516
Speaker 1: four ninety nine minutes. Look for Pushkin Plus on Apple

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00:36:55,556 --> 00:36:59,196
Speaker 1: Podcasts subscriptions, and if you like the show, please remember

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Speaker 1: to share, rate, and review us on your podcast app.

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Speaker 1: For our the music Spectady Beats on justin Richmond,