WEBVTT - Gary Lightbody

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<v Speaker 1>Early cars were mostly joisting vehicles.

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<v Speaker 2>I heard, are you bringing the jousting vehicle?

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<v Speaker 1>I am, Yeah. We're going to charge at each other

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<v Speaker 1>at ten miles an hour. It's going to be a wild.

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<v Speaker 2>We're going to drive to Sidcup, but we are also

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<v Speaker 2>going to joust.

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<v Speaker 1>Ye when we get there after ice cream.

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<v Speaker 3>That is super local English humor. But you know you

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<v Speaker 3>just got to get on board with it. Really, Hello,

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<v Speaker 3>I'm mini driver. I've always loved Proust's questionnaire. It was

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<v Speaker 3>originally in nineteenth century parlor game where players would ask

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<v Speaker 3>each other thirty five questions aimed at revealing.

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<v Speaker 2>The other player's true nature.

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<v Speaker 3>In asking different people the same set of questions, you

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<v Speaker 3>can make observations about which truths appear to be universal.

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<v Speaker 3>And it made me wonder, what if these questions were

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<v Speaker 3>just the jumping off point, what greater depths would be

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<v Speaker 3>revealed if I asked these quesses as conversation starters. So

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<v Speaker 3>I adapted Prue's questionnaire and I wrote my own seven

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<v Speaker 3>questions that I personally think are pertinent to a person's story.

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<v Speaker 3>They are when and where were you happiest? What is

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<v Speaker 3>the quality you like least about yourself? What relationship, real

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<v Speaker 3>or fictionalized, defines love for you? What question would you

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<v Speaker 3>most like answered? What person, place, or experience has shaped

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<v Speaker 3>you the most? What would be your last meal? And

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<v Speaker 3>can you tell me something in your life that's grown

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<v Speaker 3>out of a personal disaster? And I've gathered a group

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<v Speaker 3>of really remarkable people, ones that I am honored and

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<v Speaker 3>humbled to have had the chance to engage with. You

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<v Speaker 3>may not hear their answers to all seven of these questions.

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<v Speaker 3>We've whittled it down to which questions felt closest to

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<v Speaker 3>their experience or the most surprising, or created the most

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<v Speaker 3>fertile ground to connect. My guest today is the brilliant

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<v Speaker 3>and gifted musician Gary Lightbody. Gary is the lead singer

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<v Speaker 3>of the band Snow Patrol, amongst other things. And you

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<v Speaker 3>may be interested to note that I am also in

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<v Speaker 3>a band with Gary called Tired Pony, And you can

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<v Speaker 3>check out the record that we made on the old

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<v Speaker 3>music streamers if you're so inclined. Gary is a very

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<v Speaker 3>good friend of mine. So this chat was like most

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<v Speaker 3>of the ones we have. It was deep and rambling

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<v Speaker 3>and full of questions and the search for answers and

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<v Speaker 3>quite a lot of screeching laughter. Gary met the death

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<v Speaker 3>of his dad with anomenous that spread, and I think

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<v Speaker 3>it's okay to say was pretty all consuming for a minute.

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<v Speaker 3>But like all great people and artists who remain interested

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<v Speaker 3>in pain, he somehow turned that non feeling into feeling

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<v Speaker 3>and wrote an extraordinary and elegiic album, which came out

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<v Speaker 3>last September and is Snow Patrol's eighth studio album, entitled

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<v Speaker 3>The Forest is the Path.

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<v Speaker 2>And it is absolutely beautiful. Where and when were you happiest?

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<v Speaker 1>I'm going to immediately talk about Johnny and Nathan because

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<v Speaker 1>I could look back in my life and find moments

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<v Speaker 1>of happiness, of course I can, but I think the

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<v Speaker 1>most recent one is the most relevant one for me. Anyway.

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<v Speaker 1>It still feels like it's there's an energy or power

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<v Speaker 1>emanating from it. And that was when we were making

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<v Speaker 1>the album. And I'm not just saying that just because

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<v Speaker 1>we've got an album coming out, but genuinely, it was

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<v Speaker 1>a long road. We tried to make it last year

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<v Speaker 1>and it didn't work out, and it's always kind of

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<v Speaker 1>heartbreaking when you get to the end of a project

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<v Speaker 1>you realize you haven't got it. You have to kind

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<v Speaker 1>of regroup. But then we met Fraser T. Smith and

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<v Speaker 1>the four of us went into his studio in January

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<v Speaker 1>of this year, and that process was just one of

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<v Speaker 1>the most extraordinary times in the studio that we've ever had.

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<v Speaker 3>Is it because it was hard and there was heartbreaking

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<v Speaker 3>about the not making it last year?

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<v Speaker 2>Was it that?

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<v Speaker 3>Or was there some sort of new complicity because a

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<v Speaker 3>phrase that what was it? Do you think that engendered

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<v Speaker 3>such happiness?

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<v Speaker 1>It's a very very good point, because perhaps without the contrast,

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<v Speaker 1>it may not have been quite as starkly wonderful, if

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<v Speaker 1>that's even a phrase. Frankly, it could have been comparative.

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<v Speaker 1>You know, for me it still stands alone as a

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<v Speaker 1>sustained period of happiness in my life.

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<v Speaker 2>How do you recognize happiness?

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<v Speaker 1>I think for me it's because I have run so anxious.

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<v Speaker 1>When I notice how long it's been since I've been anxious,

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<v Speaker 1>I started to realize that happiness has taken its place

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<v Speaker 1>or something contentment, perhaps in a sort of a less

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<v Speaker 1>high stakes kind of version of happiness. But because happiness

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<v Speaker 1>can now be ebb and flow, and it can even

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<v Speaker 1>turn to sadness pretty quickly, but contentment there is a

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<v Speaker 1>flow to that a continuum to that. If you catch

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<v Speaker 1>the right view or a surfer you catch the right way,

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<v Speaker 1>you can write on that for a long time. And

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<v Speaker 1>it felt like every day we were coming in excited

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<v Speaker 1>to be in the studio, and Nathan and Johnny Arrow

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<v Speaker 1>was excited to be together. But it felt like every

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<v Speaker 1>time they picked up an instrument, something magical happened and

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<v Speaker 1>I was there to witness it, which doesn't always happen

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<v Speaker 1>on every album as well. People might think that when

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<v Speaker 1>a band makes an album, they're in the studio the

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<v Speaker 1>whole time, every day, but that's not necessarily what happens

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<v Speaker 1>is sometimes life happens and you've got to be somewhere else,

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<v Speaker 1>and when you are actually in the studio, it's just

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<v Speaker 1>to play your parts. But with this period of five

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<v Speaker 1>weeks with Fraser, the four of us, we were there

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<v Speaker 1>every day for each other, even if we weren't playing.

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<v Speaker 1>There's days that I didn't play anything, but I was

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<v Speaker 1>there to witness Nathan and and Johnny playing pianos and

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<v Speaker 1>guitars and singing, and it felt very very special and

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<v Speaker 1>at the end, and this is another indicator I think

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<v Speaker 1>the last day, I said to Nathan and Johnny I'm

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<v Speaker 1>really sad that this is finishing. Normally you're excited to

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<v Speaker 1>go on tour, but on the last day I said,

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<v Speaker 1>I'm really sad that this is finished, that this is over,

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<v Speaker 1>and both Nathan and Johnny said you feel the same way.

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<v Speaker 1>So that feels like a significant period of happiness that

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<v Speaker 1>I won't forget.

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<v Speaker 3>Wow, God, I think that sustained anything is impossible anyway.

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<v Speaker 3>I think it's why I like this question is even

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<v Speaker 3>though some people interestingly bulk at the idea you know

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<v Speaker 3>that happiness is an endgame, it's not really what the

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<v Speaker 3>question is. It's really what is a snapshot of a

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<v Speaker 3>moment of joy? Because it's all moments, right, Even though

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<v Speaker 3>things like anxiety feel like they are permanent, there actually

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<v Speaker 3>is no status even within that, so it's constantly shifting

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<v Speaker 3>and changing. I love that snapshot of you guys going

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<v Speaker 3>into the studio and of it not just being a

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<v Speaker 3>day that we were happy, but every day we showed

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<v Speaker 3>up to create was amazing.

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<v Speaker 1>Yeah, they will quote by the Buddha there is no

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<v Speaker 1>path to happiness. Happiness is the path, and it's sort

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<v Speaker 1>of referenced in the album title as well. The forest

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<v Speaker 1>is the path. It's okay to be lost. And I

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<v Speaker 1>was so afraid to be lost in my life or

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<v Speaker 1>focused on the destination and not the journey. And you know,

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<v Speaker 1>I think that happiness or that state of happiness only

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<v Speaker 1>really occurs whenever you let go of the destination. For me, anyway,

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<v Speaker 1>I couldn't agree.

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<v Speaker 2>With you more.

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<v Speaker 3>There's some version when I think about achieving happiness, which

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<v Speaker 3>sounds a bit like an oxymoron, and I might be

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<v Speaker 3>the more on them. I think you've got to set

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<v Speaker 3>the coordinates for happiness, like you set those coordinates and

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<v Speaker 3>then you have to let you have to let it

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<v Speaker 3>go or whatever it is. You have to set those

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<v Speaker 3>coordinates and then let it go and be in that

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<v Speaker 3>journey towards it. And I often get stuck by halfway

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<v Speaker 3>through the journey, or if I don't know, if I'm

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<v Speaker 3>halfway through the journey, I'm like, well, it just hasn't

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<v Speaker 3>happened yet or arrived yet, and I'm not there. I'm

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<v Speaker 3>so annoyed I'm not there. And someone brilliant called Esther

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<v Speaker 3>Hicks said.

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<v Speaker 2>Once she was like, you know, when you're in a.

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<v Speaker 3>Car journey from like Los Angeles to San Francisco, when

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<v Speaker 3>you get halfway you know, like Monterey or Big sur

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<v Speaker 3>You don't just get pissed off that you're not in

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<v Speaker 3>San Francisco.

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<v Speaker 1>You turn around and go home.

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<v Speaker 2>Idiots, you carry on.

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<v Speaker 3>And I think about that a lot, like set your

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<v Speaker 3>coordinates and then get on the bus or the train

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<v Speaker 3>or the plane or the jousting car and just get

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<v Speaker 3>on with it.

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<v Speaker 1>Absolutely, absolutely, I love that accord. And it's also there's

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<v Speaker 1>a certain amount of detachment from those corders once they're

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<v Speaker 1>set exactly exactly, And I think that I was always like,

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<v Speaker 1>you know, if I take my eye off there where

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<v Speaker 1>I'm going, then I'll get lost and not realizing it's

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<v Speaker 1>okay to be lost.

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<v Speaker 2>Yeah, it's okay to be lost. What question would you

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<v Speaker 2>most like answered.

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<v Speaker 1>Well, I missed the opportunity to tell my dad quite

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<v Speaker 1>a lot of things. By the time I realized I'd

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<v Speaker 1>run out of time to talk to him, he was

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<v Speaker 1>well and to advance dementia. So I would like to

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<v Speaker 1>know if there is an after for us, and if

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<v Speaker 1>he's there, and if I'll get to meet him again

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<v Speaker 1>and have those conversations.

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<v Speaker 3>Yeah, I would like that too. By the way, I

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<v Speaker 3>would like to know that do you ever feel and

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<v Speaker 3>I know that it's more recent for you. And I

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<v Speaker 3>understand the process of grief is wayward and personal and

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<v Speaker 3>it is not subject to any rules whatsoever as far

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<v Speaker 3>as I've experienced. But if it's not too personal, do

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<v Speaker 3>you have conversations with him? I know that a huge

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<v Speaker 3>amount of this beautiful album is voicing feelings and speaking

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<v Speaker 3>things and shouting things out to your dad and at

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<v Speaker 3>yourself and ruminating, and it is a beautiful meditation on

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<v Speaker 3>all of those things. But do you ever converse with him,

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<v Speaker 3>even if you can't hear what he says back.

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<v Speaker 1>The answer to that is no, not really, I'm afraid too. Hmm.

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<v Speaker 3>Yeah, I understand that, I really do. But like we

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<v Speaker 3>said before, maybe it's coordinatece. Maybe that is something that

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<v Speaker 3>you really do live the answer to you get to

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<v Speaker 3>that place. I can't, for the longest time talk to

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<v Speaker 3>my mother in my heart or my head.

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<v Speaker 2>And now I'm.

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<v Speaker 3>Essentially writing a book that begins with a conversation I

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<v Speaker 3>had with her after she died. So I think there's

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<v Speaker 3>a journey with that.

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<v Speaker 2>I really do, for sure.

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<v Speaker 1>There's a book of mind coming out that is about Yeah,

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<v Speaker 1>but writing it done is for me. It's like it's

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<v Speaker 1>not perhaps it is having a conversation with them, but

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<v Speaker 1>it did not take place out loud. Yeah, and I

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<v Speaker 1>think that's where I fell downe actually making the signed

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<v Speaker 1>the sound words are.

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<v Speaker 2>We've talked about this before.

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<v Speaker 3>When your parent is dead and there are things that

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<v Speaker 3>you didn't say or that they didn't say to you,

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<v Speaker 3>there is simply no way of having the conversation which

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<v Speaker 3>we would like to have, which is with them sitting

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<v Speaker 3>opposite us, where we get to everything and then they

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<v Speaker 3>get say everything to us. But as you and I

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<v Speaker 3>both exist in this space on the other side of

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<v Speaker 3>our parent is dead, now you know, what do we

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<v Speaker 3>do with those questions?

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<v Speaker 2>In the absence of the answers? What do we do?

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<v Speaker 3>And I think you're doing exactly the most beautiful, amazing

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<v Speaker 3>thing a person could do, which is that you're using

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<v Speaker 3>it as fuel to make something that you offer up

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<v Speaker 3>to people that they will love and enjoy and will

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<v Speaker 3>probably bring them enormous comfort.

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<v Speaker 1>Thank you, and you're doing the same. I cannot wait

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<v Speaker 1>to read your book. Your first book was an absolute

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<v Speaker 1>triumph and one of my favorite books for the last

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<v Speaker 1>ten years. As I've told you, thank you y. The

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<v Speaker 1>thing that I think we can do with these questions

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<v Speaker 1>is ask each other. Yeah, which we do, And I'm

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<v Speaker 1>very lucky to have people like that in our lives,

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<v Speaker 1>to have incredible conversations with. I know you have lots

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<v Speaker 1>of great people in your life and can keep them alive,

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<v Speaker 1>keep their energy in our lives. I don't know what

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<v Speaker 1>I would do without that.

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<v Speaker 2>Yeah, I think you're right.

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<v Speaker 3>I think it's also asking questions without the expectation of

0:12:58.080 --> 0:13:01.040
<v Speaker 3>an answer. I think that should be called something else. Yeah,

0:13:01.160 --> 0:13:02.320
<v Speaker 3>it shouldn't be called a question.

0:13:02.360 --> 0:13:02.959
<v Speaker 2>Do you know what I mean?

0:13:02.960 --> 0:13:05.719
<v Speaker 3>There should be another word for the things that you

0:13:05.760 --> 0:13:08.640
<v Speaker 3>want from your dead parents once they're dead. There should

0:13:08.679 --> 0:13:13.200
<v Speaker 3>be another way of expressing that. But you're right, talking

0:13:13.200 --> 0:13:14.280
<v Speaker 3>to each other does help.

0:13:14.880 --> 0:13:18.360
<v Speaker 1>I think you're absolutely right. There's perhaps no answers, but

0:13:18.400 --> 0:13:22.560
<v Speaker 1>the answer is in the feeling seen. I think, Yeah,

0:13:22.679 --> 0:13:26.040
<v Speaker 1>you know, I don't expect anyone to fix the things

0:13:26.040 --> 0:13:29.120
<v Speaker 1>in my life, just that feeling of being seen. I

0:13:29.120 --> 0:13:32.000
<v Speaker 1>don't want to offer anybody any advice that they don't

0:13:32.000 --> 0:13:34.240
<v Speaker 1>ask for. Any advice I ever give is given with

0:13:34.320 --> 0:13:37.840
<v Speaker 1>the caveat. Please, for God's sake, ignore this.

0:13:40.720 --> 0:13:42.640
<v Speaker 2>Ignore what I'm back to say. But you.

0:13:45.040 --> 0:13:47.320
<v Speaker 1>Don't have lost two.

0:14:02.120 --> 0:14:06.199
<v Speaker 3>Can you tell me what person, place, or experience most

0:14:06.280 --> 0:14:08.000
<v Speaker 3>altered your life, and.

0:14:08.240 --> 0:14:12.000
<v Speaker 1>Back to where I started, I think this conversation. But

0:14:12.120 --> 0:14:16.920
<v Speaker 1>Johnny and Nathan, I think have been the two people

0:14:16.960 --> 0:14:21.240
<v Speaker 1>that have altered my life the most, two people that

0:14:21.320 --> 0:14:25.120
<v Speaker 1>I've loved being around the most and also learned the

0:14:25.160 --> 0:14:28.440
<v Speaker 1>most from and do constantly.

0:14:28.480 --> 0:14:30.000
<v Speaker 2>Did you guys meet in Scotland.

0:14:30.400 --> 0:14:34.960
<v Speaker 1>No, Nathan's been in the band since two thousand and

0:14:35.440 --> 0:14:39.240
<v Speaker 1>two and Johnny's been with us from two thousand and nine.

0:14:39.560 --> 0:14:44.080
<v Speaker 1>But it's so interesting we've had conversations like this before,

0:14:44.560 --> 0:14:47.760
<v Speaker 1>the three of us, where we're like, those times don't

0:14:47.800 --> 0:14:51.200
<v Speaker 1>mean anything. It's like we always knew each other. We

0:14:51.320 --> 0:14:54.800
<v Speaker 1>just did. We always knew each other. There was no time.

0:14:56.480 --> 0:14:58.720
<v Speaker 1>I can't think of a time that I didn't know them.

0:14:59.120 --> 0:15:01.880
<v Speaker 1>We've been through a lot, you know, over the years together,

0:15:02.000 --> 0:15:04.560
<v Speaker 1>and there's been times where we weren't going great with

0:15:04.600 --> 0:15:07.160
<v Speaker 1>the band, great interpersonally, and we got through all those

0:15:07.200 --> 0:15:12.920
<v Speaker 1>things with some amounts of grace actually, and I feel

0:15:13.000 --> 0:15:15.640
<v Speaker 1>very proud of how we've sort of grown together and

0:15:15.960 --> 0:15:21.560
<v Speaker 1>become this trio that we are now. Obviously with great

0:15:21.800 --> 0:15:26.080
<v Speaker 1>love and respect and reverence to everyone that has been

0:15:26.120 --> 0:15:28.960
<v Speaker 1>in the band as well, especially Johnny Quinn and Paul

0:15:28.960 --> 0:15:32.480
<v Speaker 1>Wilson who most recently left the band, but with our

0:15:32.960 --> 0:15:35.840
<v Speaker 1>admiration and love and joy for everything that they do

0:15:35.920 --> 0:15:39.680
<v Speaker 1>in the future. But when that happens, when people leave,

0:15:39.760 --> 0:15:42.160
<v Speaker 1>you have to decide whether you want to continue. A

0:15:42.320 --> 0:15:45.080
<v Speaker 1>question was already answered. It was like, do we want

0:15:45.120 --> 0:15:47.920
<v Speaker 1>to keep going? Yes, of course, but it's how do

0:15:47.960 --> 0:15:50.720
<v Speaker 1>we keep going? That's that's the more difficult question to answer,

0:15:50.960 --> 0:15:56.320
<v Speaker 1>because we want to also make the most important record

0:15:56.360 --> 0:15:58.400
<v Speaker 1>of your life. Every time you make a record or

0:15:58.440 --> 0:16:03.960
<v Speaker 1>else why And we just had this strong, strong feeling

0:16:04.600 --> 0:16:07.360
<v Speaker 1>that in the answering of the hearty we continue was

0:16:07.960 --> 0:16:10.800
<v Speaker 1>the answer to the importance of the record, and so well,

0:16:10.840 --> 0:16:14.480
<v Speaker 1>this is how we continue. We put everything that we

0:16:14.600 --> 0:16:17.880
<v Speaker 1>have into this record, just like we've always done. So

0:16:19.640 --> 0:16:22.200
<v Speaker 1>the people I'm going to go with Johnny and Nathan.

0:16:22.480 --> 0:16:24.760
<v Speaker 1>Final answer, final answer, my final answer. I mean, I

0:16:24.800 --> 0:16:26.160
<v Speaker 1>know it's not really part of the question. It's kind

0:16:26.200 --> 0:16:28.880
<v Speaker 1>of like an either or thing, but Banger my hometown,

0:16:29.080 --> 0:16:31.400
<v Speaker 1>m it is really important to me. I love that

0:16:31.480 --> 0:16:32.200
<v Speaker 1>place so much.

0:16:32.440 --> 0:16:37.480
<v Speaker 3>Gary lived on Ocean Boulevard in Santa Monica for a

0:16:37.520 --> 0:16:40.800
<v Speaker 3>long time and I loved him being just down the road.

0:16:41.040 --> 0:16:42.120
<v Speaker 2>It really is just sort of.

0:16:42.040 --> 0:16:44.520
<v Speaker 3>How you'd imagine a California dream of, just like looking

0:16:44.560 --> 0:16:46.640
<v Speaker 3>at him with the Pacific Ocean and the swinging palm

0:16:46.720 --> 0:16:49.960
<v Speaker 3>trees and the sunshine and the Art Deco buildings in

0:16:50.000 --> 0:16:53.680
<v Speaker 3>Santa Monica and making music and getting acupuncture and hanging out.

0:16:54.200 --> 0:16:57.600
<v Speaker 3>And then Gary moved back to Bangor And I've got

0:16:57.600 --> 0:17:02.720
<v Speaker 3>to say, I've never heard a person eulogize about a

0:17:02.760 --> 0:17:05.080
<v Speaker 3>place where I know for a fact that it is

0:17:05.240 --> 0:17:09.960
<v Speaker 3>cold and it rains a lot, and yet Gary talks

0:17:09.960 --> 0:17:12.960
<v Speaker 3>about bang of the way that most people talk about California.

0:17:13.040 --> 0:17:16.959
<v Speaker 3>And Gary lived in California, which always makes me really happy.

0:17:17.000 --> 0:17:19.719
<v Speaker 3>And know that you love where you're from, and I

0:17:19.720 --> 0:17:21.280
<v Speaker 3>can't wait to visit you there. I can't believe I've

0:17:21.280 --> 0:17:22.600
<v Speaker 3>never been there, but I'll come.

0:17:22.800 --> 0:17:25.720
<v Speaker 1>Yeah, please do come over Beplaslack is right on my

0:17:25.760 --> 0:17:30.000
<v Speaker 1>doorstep and Forrest is right on my doorstep on one side.

0:17:30.119 --> 0:17:31.760
<v Speaker 1>So I've got the sea on one side of forest

0:17:31.840 --> 0:17:34.160
<v Speaker 1>on the other. And every time I walk in the forest,

0:17:34.200 --> 0:17:37.760
<v Speaker 1>I feel renewed. I don't feel that everywhere, but I'm

0:17:37.800 --> 0:17:41.919
<v Speaker 1>so glad to have refound my home. Yeah, you know,

0:17:42.000 --> 0:17:44.439
<v Speaker 1>like that quote. Home is not where we are born.

0:17:45.320 --> 0:17:49.280
<v Speaker 1>Home is where all our attempts to escape cease. Sorry,

0:17:49.920 --> 0:17:52.320
<v Speaker 1>And you know it's funny because it is where I

0:17:52.359 --> 0:17:56.439
<v Speaker 1>was born, and yet I tried to escape, And what

0:17:56.600 --> 0:17:59.840
<v Speaker 1>happened is I was only temporarily escaping. What I was really,

0:18:00.320 --> 0:18:02.480
<v Speaker 1>what I was really waiting for, was to come back

0:18:02.520 --> 0:18:04.399
<v Speaker 1>and realize that this was where I was supposed to

0:18:04.400 --> 0:18:04.879
<v Speaker 1>be all along.

0:18:09.240 --> 0:18:10.440
<v Speaker 2>What would be your last meal?

0:18:10.960 --> 0:18:14.399
<v Speaker 1>Well, I can keep it in banger as everybody that

0:18:14.440 --> 0:18:18.680
<v Speaker 1>I knew, you had to set meal on a certain night.

0:18:18.880 --> 0:18:19.399
<v Speaker 1>You know what I mean?

0:18:19.440 --> 0:18:23.280
<v Speaker 2>You would have on Monday with sausages. Tuesday was Shepherd's Park.

0:18:23.359 --> 0:18:28.720
<v Speaker 1>Wednesday Shepherd's Power. Yeah, exactly, exactly. Well, I got most

0:18:28.720 --> 0:18:30.600
<v Speaker 1>excited about spaghetti Bolonnes night.

0:18:31.560 --> 0:18:35.879
<v Speaker 3>But that's that spaghetti bolonnaise, Like that's quite sort of Mediterranean,

0:18:36.040 --> 0:18:37.520
<v Speaker 3>of like your mom or dad?

0:18:37.560 --> 0:18:39.200
<v Speaker 2>Who have cooked it?

0:18:40.760 --> 0:18:42.800
<v Speaker 1>Was my mom? Yeah? My dad did not so much,

0:18:42.840 --> 0:18:46.080
<v Speaker 1>but he did make greats Sudar breads as we call him. Yeah,

0:18:46.119 --> 0:18:48.080
<v Speaker 1>he would make those of a Sunday every night and again,

0:18:48.680 --> 0:18:49.320
<v Speaker 1>so I'd have that too.

0:18:49.800 --> 0:18:53.280
<v Speaker 3>Most importantly, what night was spaghetti Bolonnes? Was it Wednesday?

0:18:54.000 --> 0:18:57.720
<v Speaker 1>No? I think it was Thursday, but it's the meal itself.

0:18:57.880 --> 0:19:00.240
<v Speaker 1>I make a spaghetti bolonees night, and I'll make it

0:19:00.320 --> 0:19:02.159
<v Speaker 1>for my mom and my sister and my niece, and

0:19:02.200 --> 0:19:05.600
<v Speaker 1>my mum will makes spaghetti malonnaise. I'm able to contribute

0:19:05.720 --> 0:19:08.159
<v Speaker 1>to the passing of the spaghetti bawl nace. So we

0:19:08.200 --> 0:19:09.960
<v Speaker 1>don't have a family heirloom, but we have.

0:19:12.280 --> 0:19:12.840
<v Speaker 2>Thursday.

0:19:13.320 --> 0:19:16.800
<v Speaker 3>That's a good legacy. Oh, I love that. Oh I

0:19:16.920 --> 0:19:19.000
<v Speaker 3>make a mean spaghetti bolonnaise. I'm going to make you

0:19:19.040 --> 0:19:20.440
<v Speaker 3>spagetti borones next time.

0:19:20.480 --> 0:19:24.679
<v Speaker 1>Then well, I will return that. This is the continuation

0:19:25.160 --> 0:19:26.760
<v Speaker 1>the ceremonial spaghetti ballnas.

0:19:26.960 --> 0:19:29.879
<v Speaker 3>Okay, did you ever have When I was younger, I

0:19:29.960 --> 0:19:32.680
<v Speaker 3>went to someone's house. I'm going to they can remain nameless,

0:19:33.080 --> 0:19:36.679
<v Speaker 3>but they put baked beans in the spaghetti polonnaise. What

0:19:37.080 --> 0:19:41.000
<v Speaker 3>And I couldn't eat it? And I remember the mother

0:19:41.080 --> 0:19:44.320
<v Speaker 3>looking at me, going why aren't you eating it? And

0:19:44.400 --> 0:19:47.399
<v Speaker 3>I was like, I'm not hungry, and she's like, he

0:19:47.520 --> 0:19:49.920
<v Speaker 3>said that you were hungry before. Why aren't you eating

0:19:49.920 --> 0:19:52.600
<v Speaker 3>the spaghetti bolonnaise? And she kept pushing me until I

0:19:52.640 --> 0:19:56.399
<v Speaker 3>eventually went because there's beans in it, and she was

0:19:56.480 --> 0:20:04.200
<v Speaker 3>like she of course there's beans spaghetti bollidais, at which

0:20:04.240 --> 0:20:07.000
<v Speaker 3>point I was like, I'm in a mad house. I

0:20:07.040 --> 0:20:08.840
<v Speaker 3>need to just get out of here as soon as possible.

0:20:08.840 --> 0:20:11.840
<v Speaker 3>But I was only like seven, so I'm interested if

0:20:11.880 --> 0:20:13.200
<v Speaker 3>anyone's ever come across that.

0:20:14.359 --> 0:20:16.480
<v Speaker 1>I've never heard of beans in a spaghetti.

0:20:16.040 --> 0:20:20.399
<v Speaker 3>B I'm really glad that will die with her.

0:20:21.160 --> 0:20:22.399
<v Speaker 2>So she won't be listening.

0:20:22.480 --> 0:20:38.080
<v Speaker 3>Okay, in your life, can you tell me about something

0:20:38.119 --> 0:20:41.280
<v Speaker 3>that has grown out of a personal disaster and you're

0:20:41.320 --> 0:20:42.600
<v Speaker 3>not allowed to say all.

0:20:42.440 --> 0:20:47.040
<v Speaker 1>Of it.

0:20:47.840 --> 0:20:48.720
<v Speaker 2>Being borned?

0:20:52.400 --> 0:20:54.720
<v Speaker 1>God, I hope that people don't think that I'm sort

0:20:54.760 --> 0:20:57.080
<v Speaker 1>of trying to like just tie everything to the new album.

0:20:57.119 --> 0:20:58.440
<v Speaker 1>I'm really not. We don't have to talk about the

0:20:58.440 --> 0:21:02.520
<v Speaker 1>album itself, but yeah, passing. There was a year where

0:21:02.520 --> 0:21:08.040
<v Speaker 1>I was numb, completely numb, and then a year almost

0:21:08.080 --> 0:21:11.080
<v Speaker 1>to the day, I read this roomy poem and it

0:21:11.240 --> 0:21:16.800
<v Speaker 1>just unlocked everything and I just burst into tears, uncontrollable,

0:21:17.640 --> 0:21:21.280
<v Speaker 1>like Charlie Brian shooting out of the eye tears. And

0:21:21.320 --> 0:21:24.760
<v Speaker 1>then the next day the numbness had lifted and I

0:21:25.160 --> 0:21:29.920
<v Speaker 1>started writing in earnest and I wrote a song about

0:21:29.920 --> 0:21:33.560
<v Speaker 1>my dad, obviously perhaps, But then the second song I

0:21:33.560 --> 0:21:36.160
<v Speaker 1>wrote was a song called These Lies, which is actually

0:21:36.400 --> 0:21:39.920
<v Speaker 1>on the new album. The first song appeared by my dad.

0:21:39.960 --> 0:21:42.560
<v Speaker 1>It was the poem really, and then I put music

0:21:42.600 --> 0:21:45.600
<v Speaker 1>to it, but it sort of flowed out of the pen.

0:21:45.880 --> 0:21:48.919
<v Speaker 1>Was mean, you know yourself. There's days when you're standing

0:21:48.920 --> 0:21:51.240
<v Speaker 1>at a blank page and nothing comes, and then in

0:21:51.280 --> 0:21:53.399
<v Speaker 1>other days when it's almost as if you're not you

0:21:53.440 --> 0:21:56.159
<v Speaker 1>have no control of the pen. It's just automatic writing,

0:21:56.200 --> 0:21:57.560
<v Speaker 1>and I'm just trying to stay out of the way

0:21:57.560 --> 0:22:00.159
<v Speaker 1>of it, like I have the pen attached to the

0:22:00.200 --> 0:22:03.600
<v Speaker 1>page and the words will appear.

0:22:03.960 --> 0:22:04.480
<v Speaker 2>Wow.

0:22:04.720 --> 0:22:05.000
<v Speaker 1>Wait.

0:22:05.680 --> 0:22:08.679
<v Speaker 2>The roomy quote is there is a field.

0:22:09.200 --> 0:22:12.600
<v Speaker 1>There is a field out there beyond all right doing

0:22:12.720 --> 0:22:16.199
<v Speaker 1>and wrongdoing. I'll meet you there. That's right. That was

0:22:16.440 --> 0:22:18.399
<v Speaker 1>the key that the dawn broke.

0:22:18.680 --> 0:22:21.119
<v Speaker 3>I remember after one of our walks, because Gary and

0:22:21.160 --> 0:22:24.479
<v Speaker 3>I go on really long walks together and talk about things.

0:22:25.000 --> 0:22:28.600
<v Speaker 3>I wrote that quote down and it's on my desk

0:22:28.760 --> 0:22:31.320
<v Speaker 3>in England where I write, like where I'm writing my book,

0:22:31.359 --> 0:22:34.359
<v Speaker 3>and I have it there. I've also got like a

0:22:34.440 --> 0:22:42.920
<v Speaker 3>dollar sign drawn on a person. I've got to make

0:22:43.000 --> 0:22:46.080
<v Speaker 3>some money, I've got to keep a fucking ship going.

0:22:47.119 --> 0:22:49.399
<v Speaker 3>But then I've also got that roomy quote that I

0:22:49.480 --> 0:22:52.240
<v Speaker 3>wrote down when I came back from our walk, and

0:22:52.000 --> 0:22:54.280
<v Speaker 3>I love it so much. And I also love the

0:22:54.280 --> 0:22:57.720
<v Speaker 3>fact that it's next to my dollar sign, which always

0:22:57.960 --> 0:23:00.400
<v Speaker 3>makes me feel like this world is made up of

0:23:00.720 --> 0:23:03.000
<v Speaker 3>so much that is practical, that we're forced to be

0:23:03.080 --> 0:23:06.560
<v Speaker 3>practical about things, but it also what exists is this

0:23:06.680 --> 0:23:09.359
<v Speaker 3>beautiful poetry that is out beyond all of it, and

0:23:09.400 --> 0:23:12.880
<v Speaker 3>it's okay. It's okay that all that fucking shit lives

0:23:12.880 --> 0:23:16.000
<v Speaker 3>alongside all of that grace and beauty. It is okay

0:23:16.119 --> 0:23:18.160
<v Speaker 3>because I felt really sheepish when I put it next

0:23:18.160 --> 0:23:20.160
<v Speaker 3>to the dollar sign, and now I actually love it

0:23:20.200 --> 0:23:23.640
<v Speaker 3>and it makes me feel like, really, what radical.

0:23:23.320 --> 0:23:24.439
<v Speaker 2>Humaning looks like.

0:23:25.200 --> 0:23:28.640
<v Speaker 3>It's like it's spinach in your teeth and dollar signs

0:23:28.960 --> 0:23:31.679
<v Speaker 3>that you need to be reminded of, and it's finally

0:23:31.720 --> 0:23:35.200
<v Speaker 3>being able to cry over your dead dad, and it's

0:23:35.240 --> 0:23:39.240
<v Speaker 3>about making something beautiful that from that. Like, I know

0:23:39.440 --> 0:23:42.080
<v Speaker 3>how agonizing it is to lose a parent, and this

0:23:42.160 --> 0:23:45.359
<v Speaker 3>record is just a testament to so much love and

0:23:45.480 --> 0:23:49.359
<v Speaker 3>light that he had to have had a hand in

0:23:49.760 --> 0:23:50.639
<v Speaker 3>making you.

0:23:51.240 --> 0:23:53.880
<v Speaker 2>So I don't know, Gary, I'm so proud of this

0:23:53.960 --> 0:23:54.720
<v Speaker 2>record for you.

0:23:55.080 --> 0:23:58.520
<v Speaker 3>I hope that it was really healing, and I bet

0:23:58.600 --> 0:24:01.159
<v Speaker 3>you he can hear it, you know.

0:24:01.680 --> 0:24:03.280
<v Speaker 1>Thanks Mary, Babe.

0:24:03.520 --> 0:24:07.440
<v Speaker 3>Always always I'll take a picture of my dollar sign

0:24:07.440 --> 0:24:10.440
<v Speaker 3>and the roomy quote and then you can chuckle or

0:24:10.480 --> 0:24:15.119
<v Speaker 3>whenever you're thinking about that I'm taking anything seriously whatsoever

0:24:15.240 --> 0:24:18.040
<v Speaker 3>or getting anything done.

0:24:18.760 --> 0:24:21.200
<v Speaker 1>I love it. I love those two together. It's brilliant.

0:24:21.480 --> 0:24:23.840
<v Speaker 3>Tarn and love you so much, and thank you so

0:24:23.960 --> 0:24:27.480
<v Speaker 3>much for this. Really, your fans are going to love

0:24:27.520 --> 0:24:28.399
<v Speaker 3>it anyway.

0:24:28.480 --> 0:24:29.360
<v Speaker 2>I'm really grateful.

0:24:31.640 --> 0:24:34.880
<v Speaker 3>Mini Questions is hosted and written by Me Mini Driver,

0:24:35.760 --> 0:24:39.920
<v Speaker 3>executive produced by Me and Aaron Kaufman, with production support

0:24:40.000 --> 0:24:43.399
<v Speaker 3>from Jennifer Bassett, Zoe Denkler, and Ali Perry.

0:24:43.960 --> 0:24:47.760
<v Speaker 2>The theme music is also by Me and additional music

0:24:48.160 --> 0:24:49.120
<v Speaker 2>by Aaron Kaufman.

0:24:49.800 --> 0:24:55.760
<v Speaker 3>Special thanks to Jim Nikolay Addison, O'Day, Henry Driver, Lisa Castella, a,

0:24:55.840 --> 0:24:59.960
<v Speaker 3>Nick Oppenheim, A, Nick Muller and Annette wolf A, WKPR,

0:25:00.400 --> 0:25:05.680
<v Speaker 3>Will Pearson, Nikki Ito, Morgan, Lavoie and Mangesh had Ticke

0:25:05.720 --> 0:25:06.000
<v Speaker 3>Adore