WEBVTT - Eric Slick on The Big Lebowski

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<v Speaker 1>Hey, everybody, Welcome to Movie Crush. Charles W Chuck Bryant

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<v Speaker 1>here in the home studio Pont City Market into an

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<v Speaker 1>outro guests recorded by Jerry. A exciting is that everyone,

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<v Speaker 1>first time she's been involved in this show because she

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<v Speaker 1>didn't really doesn't care about it, otherwise it's not true.

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<v Speaker 1>So this week, everyone, I had another drummer in which

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<v Speaker 1>was great. I had Mr Eric Slick of the great

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<v Speaker 1>band Doctor Dog, Philly's Own Doctor Dog, one of my

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<v Speaker 1>favorite groups, and this is one of those where I

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<v Speaker 1>was like, Hey, I love Dr Dog. They're coming to Atlanta.

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<v Speaker 1>Wonder if anyone from the band would want to be

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<v Speaker 1>on the show. And as it turns out, Eric Slick

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<v Speaker 1>is a big movie fan and is a big Big

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<v Speaker 1>Lebowski fan, and I got back in touch and said

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<v Speaker 1>I'd love to come on and talk Big Lebowski and

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<v Speaker 1>we did that. What a great, great movie and I

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<v Speaker 1>know a lot of you are very excited about this.

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<v Speaker 1>So Eric and I sat down and talked about music

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<v Speaker 1>about Dr Dog, very interesting story how he got involved,

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<v Speaker 1>and he's just a really cool, interesting guy overall. And

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<v Speaker 1>then we dive in deep on The Big Lebowski and

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<v Speaker 1>it was a lot of fun. So, without any delay,

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<v Speaker 1>here we go with Eric Slick on The Big Lebowski. Yeah.

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<v Speaker 1>I do a formal intro before and after, so I

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<v Speaker 1>checked in yesterday. I wanted to make sure that I

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<v Speaker 1>wasn't gonna be totally unprepared. Also, ASO rewatched The Big Lebowski. Yeah,

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<v Speaker 1>well that always helps. I had, um, do you know

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<v Speaker 1>The Walking Dead the TV show? I had you know

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<v Speaker 1>the guy who plays Aaron rossmar kwand had him in

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<v Speaker 1>yesterday and uh for die Hard and we've both seen it.

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<v Speaker 1>We were kind of laughing. We've both seen it dozens

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<v Speaker 1>of times. But there's something different about watching it analytically

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<v Speaker 1>for something like this and taking notes. And he did

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<v Speaker 1>the same thing. He came in with notes and those

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<v Speaker 1>are always the best ones. So, yeah, thanks for watching Lebowski.

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<v Speaker 1>Well it's not like that's a chore, but it's not

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<v Speaker 1>a chore. And it's one of those movies I could

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<v Speaker 1>watch over and over again and it's like a tattoo

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<v Speaker 1>on my forehead, it really is. So you were from

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<v Speaker 1>Philly originally, I'm from Philadelphia. Nice, Yeah, and r a

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<v Speaker 1>great town. Oh man, Philly is the best. It's changed

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<v Speaker 1>a lot much like Atlanta has changed a lot. Sure, Um,

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<v Speaker 1>but Philly is amazing and uh it's a huge part

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<v Speaker 1>of my cultural and just my DNA. I can't I

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<v Speaker 1>can't take the Philly out of me. It's one of

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<v Speaker 1>those towns I think too. There's a lot of pride.

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<v Speaker 1>Yeah for a city, yea, some would argue and then

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<v Speaker 1>in uh pride in excess. Uh, we're you know, we're

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<v Speaker 1>a town that really thrives on the pride of its

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<v Speaker 1>sports teams, even when it's sports teams have been utter failures.

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<v Speaker 1>I've got a couple of really good Philly friends that

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<v Speaker 1>are you know, lifers lifers. Are you into the sports

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<v Speaker 1>at all? Or I too? I'm a fair weather fan. Unfortunately,

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<v Speaker 1>Well you're doing pretty well then lately. Yeah, well this

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<v Speaker 1>year is a great year for us. You know, my

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<v Speaker 1>dad was like crying tears of joy when the Super

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<v Speaker 1>Bowl happened. Um, but you know it was like the

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<v Speaker 1>first Super Bowl I watched in full, probably in like

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<v Speaker 1>five years, and I was like jumping around my house.

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<v Speaker 1>I mean I was excited. Well, you had the same,

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<v Speaker 1>well not the same experience as me as a Falcons fan.

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<v Speaker 1>But uh, up until it all went bad, we had

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<v Speaker 1>the same experience where I feel like the whole world

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<v Speaker 1>was on your side, the whole world was on our side.

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<v Speaker 1>Unless you're a New England fan, nobody wants to see

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<v Speaker 1>them win, unless you are literally a New England person,

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<v Speaker 1>like everybody wanted Philly went. We are. Yeah, we we

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<v Speaker 1>have a reputation for being underdogs and we also just

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<v Speaker 1>seem to have a lot of curses against us. I mean,

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<v Speaker 1>we haven't won a Stanley Cup since nineteen seventy four.

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<v Speaker 1>The Eagles have never won a Super Bowl. I don't

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<v Speaker 1>even know. I don't think the Sixers have ever won

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<v Speaker 1>a championship to my knowledge. The Phillies, obviously we had

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<v Speaker 1>nineteen eight. We got really close. Ironically, I was in Vilnius,

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<v Speaker 1>Lithuania when we won and I was so bummed. And

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<v Speaker 1>actually the rest of the Doctor Dog dudes were in

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<v Speaker 1>Australia when the Phillies won, and we were all just

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<v Speaker 1>like pretty heartbroken. Yeah, well the Phillies are looking good again.

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<v Speaker 1>Sixers are better than they've been in forever forever. Yeah,

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<v Speaker 1>but the Sixers, we we got close, but we didn't

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<v Speaker 1>make it. Yeah, that was that was a disappointing playoff run.

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<v Speaker 1>But it's the first of what would be many, So

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<v Speaker 1>I hope. So yeah, I mean as a you know,

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<v Speaker 1>as a Philadelphia but I'm I'm an expat, Like I

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<v Speaker 1>don't live in Philly anymore. I live in Virginia now,

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<v Speaker 1>but as a Philadelphia and I want us to succeed

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<v Speaker 1>in every possible way. Like I grew up with Billy

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<v Speaker 1>being like working class. You know, it's different now it's

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<v Speaker 1>very European or something. I don't know even how to

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<v Speaker 1>describe it. There's like five coffee shops per block, right, um,

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<v Speaker 1>But I grew up with it being of course, I

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<v Speaker 1>grew up being a very working class place. Like, so

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<v Speaker 1>whenever any victory has happened, we are just like, oh yeah, yeah,

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<v Speaker 1>you know, we would burn the city down right in

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<v Speaker 1>a good way. In a good way. We burned the

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<v Speaker 1>city down. Yeah. Where is um? Where's the band spread out?

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<v Speaker 1>It sounds like everyone lives in different places? Yeah, so

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<v Speaker 1>are Scott mcknickin, our singer songwriter, lives in Tucson, Arizona. Now. Uh, Frank,

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<v Speaker 1>our guitar player, lives in Jersey. Um, and hopefully I'm

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<v Speaker 1>not blowing up anybody's spot. Toby lives in Delaware, Zach

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<v Speaker 1>is the only one left in Philadelphia because he's the

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<v Speaker 1>old dude hanging on to Philly. It seems some of

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<v Speaker 1>my favorite bands are spread out bands and don't like

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<v Speaker 1>all live in the same town together. Absence makes the

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<v Speaker 1>heart grow fond got the payment shirt on that you

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<v Speaker 1>were marked about. They very famously didn't ever live together. No, no,

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<v Speaker 1>over the place. They are all over the place. And

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<v Speaker 1>and you know what, the more I tour and the

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<v Speaker 1>more I hang out with bands that, like, it's just

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<v Speaker 1>becoming a thing. You know, like people want to feel

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<v Speaker 1>comfortable and maybe like their hometown doesn't make them feel

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<v Speaker 1>super comfortable. Um, Philly eventually for me became a place

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<v Speaker 1>where I was a drummer in thirteen or fourteen different bands. Seriously, Yeah,

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<v Speaker 1>that's such a drummer troupe, such a drummer trope. But

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<v Speaker 1>but good drummers are in short supply, yeah, exactly. So

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<v Speaker 1>I was like in an absurd amount of bands, and

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<v Speaker 1>one day, you know, I realized that my tour life

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<v Speaker 1>and my home life were the same thing, and it

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<v Speaker 1>just was exhausting. You're always out with somebody I was

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<v Speaker 1>always out with. I mean, I'm still always on tour

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<v Speaker 1>but like I wanted my home life to feel distinctly

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<v Speaker 1>different than my tour life, because tour is insanity and

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<v Speaker 1>when you come home and then you're like, all right.

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<v Speaker 1>I remember I came home from vacation. I was on

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<v Speaker 1>vacation in the Virgin Islands, came home and I played

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<v Speaker 1>a gig like you had to cut it short or

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<v Speaker 1>you know, like like I was on vacation for a

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<v Speaker 1>week and then we landed in JFK and then I

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<v Speaker 1>drove down from JFK to Philly and then immediately played

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<v Speaker 1>a show. I can even like go home and have

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<v Speaker 1>that unwind experience nothing, you know. I remember at the time,

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<v Speaker 1>I was like I should turn my phone off during

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<v Speaker 1>this vacation, but then the better half of me was like, no,

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<v Speaker 1>what if there's a call. What if there's a call,

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<v Speaker 1>you might need to take the call. Um. I think

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<v Speaker 1>that So, speaking of Philly being working class, I think

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<v Speaker 1>that working class attitude is instilled in the people who

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<v Speaker 1>are really and like, you know, it's like you, I

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<v Speaker 1>don't know, it's not like fake it till you make it,

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<v Speaker 1>but it's just like you just have to keep working

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<v Speaker 1>and working and working. What. Um, So you guys h

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<v Speaker 1>how did you How did you come to be in

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<v Speaker 1>the band, because we we talked a little bit of

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<v Speaker 1>that about on the elevator, but I want to hear

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<v Speaker 1>that story because I've been with Dr Dog as a

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<v Speaker 1>fan from the beginning. My friend Ryan shout out to

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<v Speaker 1>Ryan turned me onto them when I lived in l A.

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<v Speaker 1>And I guess like two thousand one ish too, maybe yeah,

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<v Speaker 1>um early, yeah, you were on board early. Well he

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<v Speaker 1>was on board early. Oh sure, sure, but you both

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<v Speaker 1>were ye yeah, give yourself some credit. That's amazing. So

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<v Speaker 1>the I joined the band in two thousand and ten,

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<v Speaker 1>but I had been a fan of the band for

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<v Speaker 1>a long time. Yes. Uh. My friend Dan uh uh

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<v Speaker 1>was like, you got to hear this band, Doctor Dog

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<v Speaker 1>or West Billy Band, And I was like, alright, great.

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<v Speaker 1>I listened to it totally blew my mind and then

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<v Speaker 1>I was on This is how long ago it was.

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<v Speaker 1>I was like eighteen years old. I was on vacation

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<v Speaker 1>with my family and Dr Dog happened to be playing

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<v Speaker 1>in the in Atlantic City. I was in Ocean City,

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<v Speaker 1>New Jersey, and they were opening for the rock on

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<v Speaker 1>on tours, Jack White's side project band, and uh, I

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<v Speaker 1>was like, oh, great, this band I just heard about

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<v Speaker 1>is playing a show. We should all go. So we

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<v Speaker 1>like got a huge group of friends together and we

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<v Speaker 1>saw Dr Dog play in the House of Blues in

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<v Speaker 1>Atlantic City and it was I mean it was like

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<v Speaker 1>transcendent yea and those early Doctor Dog shows. Like then

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<v Speaker 1>I would go see them play locally like forty people,

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<v Speaker 1>twenty people, and at the end it was like every

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<v Speaker 1>time I saw them, I'm like, man, that's the best. Yeah.

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<v Speaker 1>My whole thing early on was like, man, why aren't

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<v Speaker 1>these guys bigger? Like why am I in a room

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<v Speaker 1>WITHO right now? Um? Yeah, and and and then the

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<v Speaker 1>selfish part of me was like, yeah, don't tell anyone,

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<v Speaker 1>you know. The sudden the selfish part of me was like,

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<v Speaker 1>don't tell anyone, And the other selfish party was like,

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<v Speaker 1>I want to play drums in that. So I became

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<v Speaker 1>fast friends with them, and uh, you know, we were

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<v Speaker 1>playing a couple of different shows together, and uh, the

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<v Speaker 1>big one was I was playing with a belly dance

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<v Speaker 1>troupe and a boom had somehow got roped into this,

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<v Speaker 1>like because you always answered the phone, because I always

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<v Speaker 1>answered the phone, I got roped into this belly dance

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<v Speaker 1>group gig where I'm playing like a doom back, like

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<v Speaker 1>a belly dance drum. Yeah. And it was at the

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<v Speaker 1>soul Or stage at Baru and it was like this

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<v Speaker 1>Knox Bill belly dance band. Yeah, they're not even a

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<v Speaker 1>Philly band, but I somehow got connected with these guys

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<v Speaker 1>and U I Uh, we pull up to the park,

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<v Speaker 1>the camping area, the parking area for camping, and uh,

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<v Speaker 1>a big van pulls up next to us and it

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<v Speaker 1>was dr Dog and they were like, oh slick like

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<v Speaker 1>Philly and We're like, uh, you know, it was this

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<v Speaker 1>big moment. And ended up hanging out with them all

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<v Speaker 1>weekend and uh just became really close with them and

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<v Speaker 1>the drummer and I poisoned their drummer and spiritually, No, no,

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<v Speaker 1>it wasn't like that. It was more just like I

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<v Speaker 1>had so much respect for them and I loved that

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<v Speaker 1>band with all of my heart. You know. I listened

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<v Speaker 1>to their first record, Easy Beat to Death, and then

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<v Speaker 1>they had Takers and leaver z Ep and then we

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<v Speaker 1>all belonged came out and it was like a game

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<v Speaker 1>changer in Philadelphia. Man, such a great record, such a

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<v Speaker 1>great record. So uh, then they took me out for

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<v Speaker 1>my twenty one birthday. Um, Zach the keyboardists had this

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<v Speaker 1>like little piece of paper with a bunch of numbers

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<v Speaker 1>and chicken scratch and uh at Boro, he was like,

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<v Speaker 1>give me your phone number. He didn't have a cell phone.

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<v Speaker 1>He's like, give me your phone number, and on your

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<v Speaker 1>twenty one birthday, I'm gonna give you a call. We're

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<v Speaker 1>going to hang out no matter what the situation is.

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<v Speaker 1>And I was like, Okay, writes my number and like

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<v Speaker 1>the tiniest handwriting I've ever seen on this crappy little

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<v Speaker 1>card that looks like it's from but in his wallet.

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<v Speaker 1>And then a day before my twenty one birthday, I

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<v Speaker 1>get a call from Zach. He's like, hey, Black Keys

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<v Speaker 1>are playing tomorrow. We're all going. You're you're with us,

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<v Speaker 1>coming with us. And that was my twenty one birthday.

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<v Speaker 1>So it's just like a lot of like they kept

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<v Speaker 1>just being so generous and then uh, their drummer quit

0:11:44.920 --> 0:11:48.600
<v Speaker 1>in two thousand nine, and Um, I ran into Zack

0:11:48.679 --> 0:11:50.840
<v Speaker 1>on the street because Zack is a big figure in

0:11:50.880 --> 0:11:53.320
<v Speaker 1>this story. But I ran him down the street and

0:11:53.360 --> 0:11:56.560
<v Speaker 1>I was so I had been on tour playing like

0:11:56.720 --> 0:11:59.679
<v Speaker 1>progressive rock music. I don't know if you know this,

0:11:59.800 --> 0:12:03.080
<v Speaker 1>but like I was, I was like deep frogue. I

0:12:03.120 --> 0:12:06.880
<v Speaker 1>was playing with Adrian Blue from Crimson. Yeah, that was

0:12:07.040 --> 0:12:09.200
<v Speaker 1>my gig. I was playing with Adrian Blue, and then

0:12:09.240 --> 0:12:11.360
<v Speaker 1>I was playing in a Zappa band with all the

0:12:11.440 --> 0:12:14.959
<v Speaker 1>Zappa Xappa musicians. So I was doing some nerdy drumming,

0:12:15.320 --> 0:12:19.280
<v Speaker 1>like very like intense, like your whole life is consumed

0:12:19.320 --> 0:12:23.720
<v Speaker 1>by Zappa music and Crimson music. Yeah. Stuff, It's really tough,

0:12:23.760 --> 0:12:26.160
<v Speaker 1>and when you're in that world it can get kind

0:12:26.200 --> 0:12:31.040
<v Speaker 1>of like claustrophobic. And then eventually like the you know,

0:12:31.440 --> 0:12:35.320
<v Speaker 1>I I just had desires deeper than playing complicated music.

0:12:35.360 --> 0:12:39.200
<v Speaker 1>I wanted to play like song like song songs, you know.

0:12:39.360 --> 0:12:42.640
<v Speaker 1>And that's no shade to Zappa. He has plenty of songs,

0:12:42.720 --> 0:12:46.319
<v Speaker 1>but it's just like no Zeppa Zeppa everyone could set. Yeah,

0:12:47.160 --> 0:12:49.440
<v Speaker 1>it's not like put it on at the party music,

0:12:50.200 --> 0:12:52.559
<v Speaker 1>you know. It's like I'm a headcase. A lot of

0:12:52.559 --> 0:12:54.840
<v Speaker 1>people listen to Zeppa alone in a room. And I

0:12:54.880 --> 0:12:57.720
<v Speaker 1>love Zappa. Zappa will always be one of my favorite musicians,

0:12:57.760 --> 0:13:00.520
<v Speaker 1>but it's just I had yearnings the fer than that.

0:13:00.640 --> 0:13:02.679
<v Speaker 1>So I quit all those bands and then I was like,

0:13:02.720 --> 0:13:05.280
<v Speaker 1>you know, what I'm gonna quit drumming. I had to

0:13:05.280 --> 0:13:06.800
<v Speaker 1>sit in my head that I wasn't cut out to

0:13:06.800 --> 0:13:09.280
<v Speaker 1>be a drummer, and I sold all of my drums

0:13:09.800 --> 0:13:15.000
<v Speaker 1>for DJ equipment. Oh my god, it's not even thinking

0:13:15.040 --> 0:13:17.760
<v Speaker 1>about it. I'm like, what was I thinking? But so

0:13:17.800 --> 0:13:19.400
<v Speaker 1>I ran into Zack on the street and he's like, hey,

0:13:19.400 --> 0:13:21.679
<v Speaker 1>what do you order? Life crisis? Quarter life crisis. He's

0:13:21.720 --> 0:13:23.920
<v Speaker 1>like he's like, hey, what are you up to? And

0:13:23.920 --> 0:13:26.600
<v Speaker 1>I was like, nothing, I'm doing nothing. You didn't say

0:13:26.600 --> 0:13:28.720
<v Speaker 1>I'm DJ slick. I was just like, I'm gonna DJ

0:13:28.840 --> 0:13:32.000
<v Speaker 1>in New York. And he like chuckled and he was like, oh, well,

0:13:32.040 --> 0:13:33.920
<v Speaker 1>you know, it's a good running into you. And then

0:13:33.960 --> 0:13:36.200
<v Speaker 1>I like said goodbye, and as I walked away, I

0:13:36.240 --> 0:13:40.560
<v Speaker 1>walked directly into a poll like as hard as I could.

0:13:41.080 --> 0:13:43.280
<v Speaker 1>And Zach was just like like we had that like

0:13:43.480 --> 0:13:45.720
<v Speaker 1>movie moment when he was like, are you okay? And

0:13:45.760 --> 0:13:48.960
<v Speaker 1>I was like yeah, man, fine, see you later. Uh so,

0:13:49.200 --> 0:13:54.600
<v Speaker 1>but again, uh this is another weird coincidence. Like as

0:13:54.640 --> 0:13:57.240
<v Speaker 1>I was buying the DJ equipment from a Craigslist dude,

0:13:57.640 --> 0:14:00.719
<v Speaker 1>he was like, yeah, you hear dr drugs, drummer quit?

0:14:00.880 --> 0:14:02.560
<v Speaker 1>And I was like so out of it. I was

0:14:02.600 --> 0:14:05.160
<v Speaker 1>just like, oh, cool, whatever, Like I didn't even think

0:14:05.160 --> 0:14:07.720
<v Speaker 1>of it. And then the day after Christmas, I got

0:14:07.800 --> 0:14:09.960
<v Speaker 1>a call from Zach and he was like, hey, I

0:14:10.080 --> 0:14:12.920
<v Speaker 1>ran into you. You're not doing anything. Do you want

0:14:12.920 --> 0:14:15.040
<v Speaker 1>to join the band? And I was like just just

0:14:15.080 --> 0:14:16.920
<v Speaker 1>straight up in right now, just a straight up like

0:14:16.920 --> 0:14:20.640
<v Speaker 1>you want an audition? Okay. But I've later found out

0:14:20.680 --> 0:14:23.040
<v Speaker 1>that I got to the studio and they didn't. Nobody

0:14:23.040 --> 0:14:26.960
<v Speaker 1>else was there. They were really banking on this thing working.

0:14:27.080 --> 0:14:29.160
<v Speaker 1>It's great, but I think there was an inherent trust

0:14:29.160 --> 0:14:31.440
<v Speaker 1>because we had built up a friendship over the course

0:14:31.480 --> 0:14:33.280
<v Speaker 1>of like four years. It just all kind of worked.

0:14:33.320 --> 0:14:36.240
<v Speaker 1>It all kind of worked, and I mean it was cute.

0:14:36.280 --> 0:14:38.640
<v Speaker 1>You know. It's like they're like learned five songs and

0:14:38.640 --> 0:14:40.000
<v Speaker 1>in the back of my mind, I'm like, I know

0:14:40.040 --> 0:14:43.160
<v Speaker 1>your whole catalog the back, and I'm like, I'll put

0:14:43.160 --> 0:14:47.840
<v Speaker 1>some time into it, you know, just yeah, like actuality.

0:14:47.840 --> 0:14:49.920
<v Speaker 1>It's like, oh, I know your whole catalog back there.

0:14:50.000 --> 0:14:51.920
<v Speaker 1>So we played you know, four or five songs. I

0:14:51.920 --> 0:14:55.480
<v Speaker 1>think we ran through like Alaska. So and uh they're

0:14:55.520 --> 0:14:57.520
<v Speaker 1>like okay, this is good. They're like, can play anything else?

0:14:57.560 --> 0:14:59.280
<v Speaker 1>And I was like, let's run all the records down,

0:14:59.320 --> 0:15:01.360
<v Speaker 1>and they were like real and we went from easy

0:15:01.400 --> 0:15:03.800
<v Speaker 1>beat all the way up until Shame Shame, and we

0:15:03.800 --> 0:15:07.280
<v Speaker 1>we played every record and it was so fun. Yeah

0:15:07.640 --> 0:15:10.280
<v Speaker 1>that might that still might be like my favorite rehearsal

0:15:10.320 --> 0:15:13.000
<v Speaker 1>I've ever been a part of. Bet man. Oh. So

0:15:13.200 --> 0:15:16.440
<v Speaker 1>it was a dream and it felt so natural because

0:15:16.480 --> 0:15:18.920
<v Speaker 1>I already knew the songs. I knew them as people,

0:15:19.160 --> 0:15:20.920
<v Speaker 1>I knew they were I knew that they were sweet,

0:15:21.000 --> 0:15:23.560
<v Speaker 1>and there wasn't any of that awkwardness when you're like

0:15:23.600 --> 0:15:26.800
<v Speaker 1>approaching a gig and you're like, man, I doing what

0:15:26.880 --> 0:15:31.960
<v Speaker 1>you are? So uh yeah, it was amazing. And then

0:15:32.000 --> 0:15:34.560
<v Speaker 1>of course like yeah, you have that like first thought,

0:15:34.560 --> 0:15:36.720
<v Speaker 1>best thought practice, and then I had to like go through,

0:15:37.120 --> 0:15:40.320
<v Speaker 1>you know, three years of getting to really know everybody

0:15:40.960 --> 0:15:44.400
<v Speaker 1>and really know what the personalities are and how to

0:15:44.440 --> 0:15:47.080
<v Speaker 1>work with them, and like the honeymoon periods over and

0:15:47.480 --> 0:15:49.720
<v Speaker 1>well yeah, I remember after the fourth show we played

0:15:49.720 --> 0:15:51.840
<v Speaker 1>together in Syracus, Toby took a look at me and

0:15:51.840 --> 0:15:53.640
<v Speaker 1>he was like, yeah, man, I don't know, I don't

0:15:53.640 --> 0:15:56.040
<v Speaker 1>know it's gonna work. And I was like really, I

0:15:56.080 --> 0:15:57.880
<v Speaker 1>was like I thought I'm doing Okay, it's like yeah,

0:15:57.920 --> 0:16:00.920
<v Speaker 1>but you know, like you come from a then provisational

0:16:01.040 --> 0:16:03.640
<v Speaker 1>progressive rock world like and we need everything to be

0:16:03.680 --> 0:16:07.120
<v Speaker 1>like solid. Yeah. I was like, oh, so they really

0:16:08.120 --> 0:16:11.600
<v Speaker 1>I mean, you know, like I appreciate them for giving

0:16:11.640 --> 0:16:14.440
<v Speaker 1>me a chance, but it was hard, and of course

0:16:14.520 --> 0:16:17.080
<v Speaker 1>you know, they had another drummer before I did. And

0:16:17.120 --> 0:16:20.080
<v Speaker 1>then the big secret is that Scott is a monster drummer.

0:16:20.600 --> 0:16:24.200
<v Speaker 1>And Scott plays drums on Shadow People. Uh, he plays

0:16:24.240 --> 0:16:28.680
<v Speaker 1>all the drums on We All Belong. Yeah, Scott Um,

0:16:28.720 --> 0:16:31.400
<v Speaker 1>he's a He's a phenomenal drummer in a very like

0:16:31.680 --> 0:16:35.960
<v Speaker 1>Jangkie way. He's very like um, a lot of character

0:16:36.400 --> 0:16:40.080
<v Speaker 1>his drumming. Um, I wouldn't call him like a guy

0:16:40.120 --> 0:16:42.680
<v Speaker 1>with like a lot of technical prowess, but his tone

0:16:42.720 --> 0:16:48.400
<v Speaker 1>is really good and his ear for drums is like incredible. Um.

0:16:48.560 --> 0:16:50.160
<v Speaker 1>Some of the drums he did on Easy Beat were

0:16:50.200 --> 0:16:53.560
<v Speaker 1>recorded one drum at a time, likely Yeah, like super

0:16:53.640 --> 0:16:58.800
<v Speaker 1>cool approach, very kitchen sink approach to recording. So I

0:16:58.880 --> 0:17:01.360
<v Speaker 1>learned a lot from them, and I also had to

0:17:01.400 --> 0:17:05.080
<v Speaker 1>be like respect for the old drummer Justin and Scott

0:17:05.160 --> 0:17:09.520
<v Speaker 1>drumming while also trying to add something different through the conversation.

0:17:10.240 --> 0:17:13.040
<v Speaker 1>So when we made be the Void the first record, uh,

0:17:14.000 --> 0:17:15.800
<v Speaker 1>that was my first record with the band, it was

0:17:15.880 --> 0:17:18.840
<v Speaker 1>sort of like listening back to it, I'm like, oh, yeah,

0:17:18.880 --> 0:17:21.560
<v Speaker 1>you could totally hear me like shaking off the progue.

0:17:21.640 --> 0:17:24.800
<v Speaker 1>Really yeah, there's a lot of there's some complicated drumming

0:17:24.800 --> 0:17:27.880
<v Speaker 1>on that record. But like sometimes I'm like, I listened back,

0:17:27.880 --> 0:17:32.040
<v Speaker 1>I'm like, was that unnecessarily complicated? You know? It was

0:17:32.080 --> 0:17:34.360
<v Speaker 1>a bit of a mental shift, I guess well, and

0:17:34.480 --> 0:17:38.080
<v Speaker 1>you know, talking about payment, like those guys Toby and

0:17:38.119 --> 0:17:43.560
<v Speaker 1>Scott in particular, grew up obsessive with payment, obsessive to

0:17:43.640 --> 0:17:45.560
<v Speaker 1>the point where if like I start playing Shady Lane

0:17:45.600 --> 0:17:47.240
<v Speaker 1>right now, they'll be like, Okay, let's play all of

0:17:47.760 --> 0:17:50.280
<v Speaker 1>you know. Or I played range Life the other night

0:17:50.640 --> 0:17:53.440
<v Speaker 1>on our bus, and uh then it was like, okay,

0:17:53.440 --> 0:17:55.119
<v Speaker 1>can we go into all can we just play all

0:17:55.160 --> 0:17:58.320
<v Speaker 1>of Wawie's Awe? Like we play or what what that's

0:17:58.320 --> 0:18:01.480
<v Speaker 1>not on whow He's Awe? But you know, um, those

0:18:01.520 --> 0:18:04.880
<v Speaker 1>guys like that's the world they're coming from. And Pavement

0:18:05.040 --> 0:18:09.680
<v Speaker 1>had some there's some shared influences like Can and Um,

0:18:09.720 --> 0:18:12.440
<v Speaker 1>like the more crowd rock stuff like when you start

0:18:12.480 --> 0:18:14.880
<v Speaker 1>going back with the Pavement, it's like, oh, there's like Us,

0:18:14.960 --> 0:18:17.760
<v Speaker 1>Maple and all these bands that influenced them, and that

0:18:17.880 --> 0:18:20.000
<v Speaker 1>then I got really into those bands and recognized that

0:18:20.040 --> 0:18:22.360
<v Speaker 1>there was common ground, and so I could be like, oh,

0:18:22.480 --> 0:18:24.800
<v Speaker 1>like Pavement, I could take the things I love about

0:18:24.800 --> 0:18:26.800
<v Speaker 1>payment and the things I level about progressive rock and

0:18:26.800 --> 0:18:29.679
<v Speaker 1>like kind of smashing smashing together in a way that

0:18:29.720 --> 0:18:32.520
<v Speaker 1>could be really a different um. But yes, Scott and

0:18:32.560 --> 0:18:35.520
<v Speaker 1>Toby are like huge Pavement dudes. Same here man and

0:18:35.560 --> 0:18:38.639
<v Speaker 1>I'm in an old man band. Uh. I got in

0:18:38.720 --> 0:18:40.760
<v Speaker 1>my first band when I was thirty eight years old,

0:18:41.119 --> 0:18:43.280
<v Speaker 1>and it's just old friends from high school and college

0:18:43.320 --> 0:18:46.280
<v Speaker 1>that we all lived in within two miles of each other.

0:18:46.800 --> 0:18:48.320
<v Speaker 1>And it was like, wait a minute, you play guitar

0:18:48.359 --> 0:18:49.919
<v Speaker 1>and I play guitar, and saying you played drums, you

0:18:49.920 --> 0:18:52.560
<v Speaker 1>play bass, Like why don't we just get together and

0:18:52.720 --> 0:18:55.359
<v Speaker 1>it's the most fun thing in my life? And we do.

0:18:55.480 --> 0:18:57.520
<v Speaker 1>We do. We only do cover songs. We don't we

0:18:57.560 --> 0:18:59.520
<v Speaker 1>don't have time to write. We've all got kids and

0:18:59.520 --> 0:19:02.800
<v Speaker 1>we're all z but uh, we played like one or

0:19:02.800 --> 0:19:05.720
<v Speaker 1>two shows a year out when a friend calls and says, hey,

0:19:05.760 --> 0:19:07.600
<v Speaker 1>we need some money to do thirty minutes and uh

0:19:08.240 --> 0:19:11.400
<v Speaker 1>my buddy was doing U and he's in a Weezer

0:19:11.640 --> 0:19:14.640
<v Speaker 1>tribute band and he said, hey, we're doing a nineties

0:19:14.760 --> 0:19:17.119
<v Speaker 1>night and we have us and uh, I think that

0:19:17.240 --> 0:19:18.840
<v Speaker 1>was like a primus thing. He was like, would you

0:19:18.840 --> 0:19:23.920
<v Speaker 1>guys be up for learning like twelve Pavement songs? Oh man, yes, yeah.

0:19:24.080 --> 0:19:26.160
<v Speaker 1>So we did that and we played like our Pavement

0:19:26.320 --> 0:19:29.280
<v Speaker 1>dream set two drummers. Uh no, we didn't have in

0:19:29.320 --> 0:19:31.439
<v Speaker 1>the stand of it. I tried to, and I actually

0:19:31.440 --> 0:19:34.840
<v Speaker 1>have gotten an obob a little bit because of the podcast,

0:19:35.440 --> 0:19:37.080
<v Speaker 1>and so that's kind of like it was one of

0:19:37.119 --> 0:19:39.960
<v Speaker 1>my like big moments in life. I was like, wait

0:19:39.960 --> 0:19:41.760
<v Speaker 1>a minute, you listen to this thing. You gotta get

0:19:41.800 --> 0:19:44.560
<v Speaker 1>Malchimus on here. I and emailed him actually because Bob

0:19:44.640 --> 0:19:47.840
<v Speaker 1>getting his email, and uh, I've never heard back. His

0:19:47.880 --> 0:19:50.800
<v Speaker 1>new record came out today Hard. Yeah, I know it

0:19:50.840 --> 0:19:52.959
<v Speaker 1>sounds great. I haven't listened to you. Oh it sounds

0:19:52.960 --> 0:19:55.760
<v Speaker 1>great after I'm a Malchemist for I'm a life right now,

0:19:55.760 --> 0:19:58.399
<v Speaker 1>you know. I just read uh his Uh there's a

0:19:58.400 --> 0:20:01.880
<v Speaker 1>New York Times interview and a uh Washington The Washington

0:20:01.920 --> 0:20:04.719
<v Speaker 1>Post interview is really good and I can relate to

0:20:04.840 --> 0:20:07.120
<v Speaker 1>him in a lot of ways, like we're kind of

0:20:07.200 --> 0:20:09.120
<v Speaker 1>you know, He's like, I feel really awkward. I feel

0:20:09.119 --> 0:20:11.240
<v Speaker 1>like I don't have a good voice, but like, yeah,

0:20:11.440 --> 0:20:14.240
<v Speaker 1>I cracked myself up with my music and like hopefully

0:20:14.320 --> 0:20:16.520
<v Speaker 1>that's enough. You know, he's one of my favorite guitar

0:20:16.560 --> 0:20:19.160
<v Speaker 1>players of all time. YEP, there was a moment at

0:20:19.200 --> 0:20:21.639
<v Speaker 1>the I saw them quite a few times back in

0:20:21.680 --> 0:20:23.320
<v Speaker 1>the day, but then I went to the reunion gig

0:20:24.200 --> 0:20:26.600
<v Speaker 1>at the Tabernacle actually where you guys here tonight, and

0:20:27.160 --> 0:20:31.040
<v Speaker 1>there was a moment uh after the first right before

0:20:31.080 --> 0:20:34.920
<v Speaker 1>the first uh inn or not intermission, but encore, when

0:20:34.920 --> 0:20:37.960
<v Speaker 1>everyone walked off stage mountainous waff off stage, but we

0:20:37.960 --> 0:20:41.720
<v Speaker 1>were sitting kind of to the side on the upstairs

0:20:41.720 --> 0:20:44.320
<v Speaker 1>of the balcony, and he was he never took his

0:20:44.359 --> 0:20:46.800
<v Speaker 1>guitar off, and he was sitting in the wings on

0:20:46.840 --> 0:20:51.040
<v Speaker 1>a box, noodling. And if you were out in the

0:20:51.080 --> 0:20:53.120
<v Speaker 1>audience and you weren't on the side like we were,

0:20:53.160 --> 0:20:56.080
<v Speaker 1>you couldn't see that. You just heard this stuff. He

0:20:56.200 --> 0:20:58.800
<v Speaker 1>never took his guitar off, And that three minutes was

0:20:58.840 --> 0:21:01.119
<v Speaker 1>one of my favorite parts of the show because he

0:21:01.160 --> 0:21:02.679
<v Speaker 1>was just sitting there in the dark in the wings

0:21:02.760 --> 0:21:06.199
<v Speaker 1>doing his malcolmus noodling and it was fucking gorgeous. And

0:21:06.200 --> 0:21:09.919
<v Speaker 1>that's the thing about him too, is like he uh

0:21:10.200 --> 0:21:12.560
<v Speaker 1>in this Washington Post interview, and I can relate to

0:21:12.600 --> 0:21:15.200
<v Speaker 1>this because I get like I get performance anxiety as well.

0:21:15.720 --> 0:21:18.160
<v Speaker 1>And he's like, you know, when we were on Late

0:21:18.240 --> 0:21:20.159
<v Speaker 1>Night in the nineties doing cut your Hair, He's like,

0:21:20.240 --> 0:21:23.040
<v Speaker 1>I closed my eyes for half of the performance, and

0:21:23.040 --> 0:21:26.159
<v Speaker 1>he's like, because I didn't feel like I just I

0:21:26.200 --> 0:21:27.679
<v Speaker 1>was like, when is this going to be over? Even

0:21:27.680 --> 0:21:29.560
<v Speaker 1>when payment was playing coach, He's like, I closed my

0:21:29.560 --> 0:21:30.600
<v Speaker 1>eyes and I was like, when is this going to

0:21:30.680 --> 0:21:34.959
<v Speaker 1>be over? And I understand that because, like, you know,

0:21:35.040 --> 0:21:37.679
<v Speaker 1>you can when you're at home writing, you can just

0:21:37.760 --> 0:21:39.879
<v Speaker 1>live in your own world and like, yeah, you can

0:21:39.920 --> 0:21:42.880
<v Speaker 1>crack yourself up with your music, like play all kinds

0:21:42.920 --> 0:21:45.879
<v Speaker 1>of hilarious stuff. And right, I mean some of the

0:21:45.880 --> 0:21:50.119
<v Speaker 1>Pavement lyrics are so funny. Rattled by the rush caught

0:21:50.160 --> 0:21:52.960
<v Speaker 1>my dad crying. I mean I think about that line

0:21:53.000 --> 0:21:55.960
<v Speaker 1>all the time, and then the way that it's juxtaposed

0:21:56.000 --> 0:22:00.200
<v Speaker 1>where it's like, uh, you know, brush your teeth, shirt smell,

0:22:00.200 --> 0:22:02.520
<v Speaker 1>you know, it's like like caught my dad crying. That's

0:22:02.560 --> 0:22:05.119
<v Speaker 1>such a vulnerable thing to say. And then like the

0:22:05.160 --> 0:22:08.280
<v Speaker 1>rest of that song is like we call her Barbara

0:22:08.520 --> 0:22:11.840
<v Speaker 1>Larva Larva. Barbara rhymes like, oh yeah, I'm sure a

0:22:11.840 --> 0:22:13.800
<v Speaker 1>lot of times he's his tongue is firmly in cheek,

0:22:14.400 --> 0:22:18.440
<v Speaker 1>so that rhymes rhymes yeah. And the actually the rattle

0:22:18.440 --> 0:22:19.879
<v Speaker 1>by the rest story I love the most is that

0:22:19.920 --> 0:22:21.679
<v Speaker 1>it's like I can't believe when we went back to

0:22:21.720 --> 0:22:25.040
<v Speaker 1>relearn it, like how like how slow that song is

0:22:25.080 --> 0:22:29.480
<v Speaker 1>because of how high we were really like that songs

0:22:29.520 --> 0:22:35.800
<v Speaker 1>like seventy beats per minute, just like slow. You know,

0:22:36.040 --> 0:22:38.960
<v Speaker 1>it's slow, man. We don't want to listen to that now,

0:22:39.040 --> 0:22:41.720
<v Speaker 1>I know, right. Yeah. So we were talking a little

0:22:41.720 --> 0:22:44.600
<v Speaker 1>bit on the elevator on the way up here about um,

0:22:45.440 --> 0:22:48.160
<v Speaker 1>the organic growth of Dr Dog And I've seen it

0:22:48.440 --> 0:22:52.959
<v Speaker 1>with my eyeballs as a fan going to see uh

0:22:53.080 --> 0:22:56.840
<v Speaker 1>from like the vinyl at the center stage to the

0:22:56.880 --> 0:23:03.400
<v Speaker 1>masquerade to the bucket theater to shaking knees and uh,

0:23:03.480 --> 0:23:06.320
<v Speaker 1>which obviously that's a festival, but I feel like those

0:23:06.359 --> 0:23:09.240
<v Speaker 1>festivals earn a lot of fans that way. Is that

0:23:09.400 --> 0:23:12.040
<v Speaker 1>is that a strategy or is it? I mean, the

0:23:12.320 --> 0:23:14.680
<v Speaker 1>growth has been so organic and natural, it seems like

0:23:15.400 --> 0:23:17.840
<v Speaker 1>because it was not like, oh, we played this hundred

0:23:17.840 --> 0:23:20.440
<v Speaker 1>seat venue and then the next year we were doing

0:23:20.960 --> 0:23:23.440
<v Speaker 1>hundred seat theater. No, it's not like that. And actually,

0:23:23.520 --> 0:23:27.520
<v Speaker 1>like the more I see bands like immediately go from

0:23:27.520 --> 0:23:31.080
<v Speaker 1>playing a hundred capacity rooms to playing eighteen hundred capacity rooms,

0:23:31.119 --> 0:23:33.720
<v Speaker 1>I'm always wary because I'm like, you're not gonna be

0:23:33.760 --> 0:23:37.040
<v Speaker 1>able to deal with this. Uh, the slow growth is

0:23:37.080 --> 0:23:40.719
<v Speaker 1>so much truer, and uh, yeah, you're right. It's like

0:23:40.840 --> 0:23:42.560
<v Speaker 1>when even when I first joined the band, around the

0:23:42.600 --> 0:23:46.760
<v Speaker 1>time that Shame Shame was being finished, Um, we were

0:23:46.800 --> 0:23:50.000
<v Speaker 1>only playing a hundred to three hundred capacity rooms on

0:23:50.080 --> 0:23:54.200
<v Speaker 1>that first tour, and you know, somewhere sellouts, somewheren't even sellouts.

0:23:54.240 --> 0:23:58.240
<v Speaker 1>And this was that like Dr Dog was doing well, um,

0:23:58.800 --> 0:24:02.199
<v Speaker 1>and people were a aware of us. But you know,

0:24:02.320 --> 0:24:05.760
<v Speaker 1>then the next time we play like Iowa City or whatever,

0:24:05.840 --> 0:24:08.200
<v Speaker 1>it's like, yeah, you play the hundred and fifty capacity

0:24:08.200 --> 0:24:09.920
<v Speaker 1>your room for three years, and then the next time

0:24:09.960 --> 0:24:11.840
<v Speaker 1>you play the three hundred, and then the next time

0:24:11.840 --> 0:24:14.200
<v Speaker 1>you play the five hundred, and then like you play

0:24:14.240 --> 0:24:16.440
<v Speaker 1>the five hundred for what seems like forever, and then

0:24:16.440 --> 0:24:19.320
<v Speaker 1>you're at the thousand, and it's like and it feels

0:24:19.359 --> 0:24:22.960
<v Speaker 1>like such a tangible like like we can all breathe

0:24:22.960 --> 0:24:24.680
<v Speaker 1>a side of really like we did it, you know,

0:24:25.119 --> 0:24:27.439
<v Speaker 1>by working hard. Like I always got the sense that

0:24:27.520 --> 0:24:31.919
<v Speaker 1>you some bands give up when they don't hit that

0:24:32.000 --> 0:24:34.439
<v Speaker 1>certain level. And Dr Dog always seem maybe it's at

0:24:34.440 --> 0:24:37.520
<v Speaker 1>Philly work ethic. Seemed like you guys are gonna go

0:24:37.560 --> 0:24:41.199
<v Speaker 1>out and fucking earn each show. You're gonna earn that

0:24:41.280 --> 0:24:44.720
<v Speaker 1>fan to tell ten more people, and and it never

0:24:45.200 --> 0:24:48.320
<v Speaker 1>goes away. Yeah, And I would so much rather be

0:24:48.359 --> 0:24:51.800
<v Speaker 1>in a position where it never goes away instead of

0:24:51.880 --> 0:24:57.480
<v Speaker 1>the you know, instant like boom, we're done. And I've

0:24:57.560 --> 0:24:59.800
<v Speaker 1>I've seen it happen with friends bands where they just

0:25:00.040 --> 0:25:02.679
<v Speaker 1>comes so jaded. Uh. Now that's not to say that

0:25:02.760 --> 0:25:04.720
<v Speaker 1>we're not like you know, we we have a sense

0:25:04.760 --> 0:25:09.520
<v Speaker 1>of like okay, like playing this room again, but um,

0:25:09.600 --> 0:25:12.000
<v Speaker 1>when we go on to play the show, we we

0:25:12.080 --> 0:25:14.160
<v Speaker 1>never lose a sense of a love for the thing.

0:25:14.440 --> 0:25:19.440
<v Speaker 1>And I totally agree with you. I think, yeah, it's

0:25:19.520 --> 0:25:21.479
<v Speaker 1>it is our Philly work ethic, and it is our

0:25:21.600 --> 0:25:24.760
<v Speaker 1>relentlessness and even um, you know, last night we were

0:25:24.760 --> 0:25:26.600
<v Speaker 1>starting to have kind of a weird show and then

0:25:26.840 --> 0:25:29.720
<v Speaker 1>we like have little tricks that help us get out

0:25:29.720 --> 0:25:31.560
<v Speaker 1>of it, and then like humor can be one of

0:25:31.600 --> 0:25:33.640
<v Speaker 1>those tricks. So like we're in the middle of playing

0:25:33.680 --> 0:25:36.639
<v Speaker 1>the show and uh, Toby looks at me and he

0:25:36.680 --> 0:25:38.359
<v Speaker 1>looks like kind of crazy, Like you know, he's like,

0:25:38.440 --> 0:25:40.320
<v Speaker 1>we're all we're both just exhausted because we've been on

0:25:40.320 --> 0:25:43.639
<v Speaker 1>tour since April. Well I've been on tours since January,

0:25:43.680 --> 0:25:46.560
<v Speaker 1>but I get that later. I've been touring with two bands.

0:25:46.960 --> 0:25:50.359
<v Speaker 1>So he looks at me and he says, hey, if

0:25:50.359 --> 0:25:52.199
<v Speaker 1>you think if we leave now, do you think we

0:25:52.320 --> 0:25:56.800
<v Speaker 1>can beat the traffic? And it just killed it killed me.

0:25:57.560 --> 0:25:59.879
<v Speaker 1>He has a lot of one liners like that. He

0:26:00.280 --> 0:26:02.760
<v Speaker 1>like my deep secret is like he's he's my guy.

0:26:02.960 --> 0:26:06.600
<v Speaker 1>That's okay. Everyone has the secret weapon, everyone has their guy.

0:26:06.600 --> 0:26:08.639
<v Speaker 1>His voice is amazing. But Toby looks at me and

0:26:08.720 --> 0:26:12.880
<v Speaker 1>just goes so dead pan, and I like lost it

0:26:12.960 --> 0:26:15.879
<v Speaker 1>because because I knew he wreck. He saw in me

0:26:16.000 --> 0:26:17.800
<v Speaker 1>that I was tired, and I saw in him that

0:26:17.880 --> 0:26:19.960
<v Speaker 1>he was tired, and we were just you know, we're

0:26:19.960 --> 0:26:22.520
<v Speaker 1>playing fate or you know, it's called the Beach on

0:26:22.520 --> 0:26:24.479
<v Speaker 1>the record, but we call it fate. We're playing through

0:26:24.560 --> 0:26:26.399
<v Speaker 1>this song and we're all we're we're all just like

0:26:26.560 --> 0:26:29.800
<v Speaker 1>hanging by a threat. Tours over in two days. We're

0:26:29.800 --> 0:26:32.320
<v Speaker 1>all ready to go home and see our significant others

0:26:32.359 --> 0:26:35.119
<v Speaker 1>and our friends. So it's just like just that little

0:26:35.200 --> 0:26:38.399
<v Speaker 1>moment of like, I know, like I'm aware of what

0:26:38.440 --> 0:26:41.000
<v Speaker 1>you're going through. Let's let's laugh about it. And then

0:26:41.040 --> 0:26:43.679
<v Speaker 1>the rest of the show was so funny, and then

0:26:43.720 --> 0:26:45.560
<v Speaker 1>we walked down stage like all like, you know, arm

0:26:45.560 --> 0:26:47.760
<v Speaker 1>in arm, and that's how that's how we get over

0:26:47.800 --> 0:26:50.800
<v Speaker 1>those things. Um, so you would be a good feeling,

0:26:50.800 --> 0:26:54.560
<v Speaker 1>you know, because you worked through something together. It yeah,

0:26:54.960 --> 0:26:58.720
<v Speaker 1>it is, and uh yeah, I would tell any young

0:26:58.840 --> 0:27:02.960
<v Speaker 1>musician like, if you're on a slow route, just like

0:27:03.560 --> 0:27:06.760
<v Speaker 1>don't give up even you know, even if you like

0:27:06.920 --> 0:27:10.600
<v Speaker 1>aren't making a living yet doing it like it's so

0:27:10.680 --> 0:27:14.479
<v Speaker 1>much better. And someone who's like I'm famous immediately, you know.

0:27:15.280 --> 0:27:18.120
<v Speaker 1>I've heard stories of people who are like Instagram celebrities

0:27:18.160 --> 0:27:20.800
<v Speaker 1>who are like sixteen years old with like a million

0:27:20.840 --> 0:27:23.600
<v Speaker 1>followers doing like cart wheels when they find out that

0:27:23.640 --> 0:27:26.240
<v Speaker 1>they've had a million followers. And I'm such a thing

0:27:26.320 --> 0:27:30.399
<v Speaker 1>now to the expectation of not having to wait for stuff,

0:27:31.960 --> 0:27:36.280
<v Speaker 1>whether success or the download of a film, and and

0:27:36.320 --> 0:27:39.960
<v Speaker 1>there's merit to uh certain things, you know, certain things

0:27:40.000 --> 0:27:44.000
<v Speaker 1>becoming more efficient and uh communication getting more efficient. But

0:27:44.840 --> 0:27:47.920
<v Speaker 1>when I see somebody like celebrating over getting a million

0:27:47.960 --> 0:27:51.760
<v Speaker 1>Instagram followers, I'm just like, oh man, it's all downhill,

0:27:52.280 --> 0:27:55.600
<v Speaker 1>you know, like if that, if that's if that's the

0:27:55.640 --> 0:27:57.760
<v Speaker 1>high if you're considering that the high water mark of

0:27:57.800 --> 0:27:59.680
<v Speaker 1>your success, and like the rest of your life is

0:27:59.680 --> 0:28:02.440
<v Speaker 1>going to be disappointing because there's so much about life

0:28:02.480 --> 0:28:05.960
<v Speaker 1>to celebrate. Um. I often tell people like Dr Dog,

0:28:06.440 --> 0:28:08.760
<v Speaker 1>we like try to be like a life celebration band,

0:28:08.800 --> 0:28:10.760
<v Speaker 1>you know, like that's what the show is like, that's

0:28:10.760 --> 0:28:12.760
<v Speaker 1>what the shows are like, and that's what we're trying

0:28:12.760 --> 0:28:16.359
<v Speaker 1>to convey, Like we're and and and humbly. It's not

0:28:16.400 --> 0:28:19.760
<v Speaker 1>like we think that we are like yeah, we're here

0:28:19.800 --> 0:28:22.720
<v Speaker 1>to help you celebrate life. It's more just like no,

0:28:22.880 --> 0:28:26.640
<v Speaker 1>I mean, like our lyrics are about view viewing negativity

0:28:27.480 --> 0:28:30.080
<v Speaker 1>in a positive fight and try and trying as hard

0:28:30.119 --> 0:28:32.560
<v Speaker 1>as you can to be like yeah, life is suffering,

0:28:32.640 --> 0:28:37.280
<v Speaker 1>but like yeah, well we'll make it through. It's always um,

0:28:37.320 --> 0:28:38.880
<v Speaker 1>I mean, you get something out of every band that

0:28:38.920 --> 0:28:42.160
<v Speaker 1>you see live. But Doctor Dog shows are always fun awesome,

0:28:42.320 --> 0:28:44.720
<v Speaker 1>like it's just and I saw it at Shaking Knees.

0:28:44.760 --> 0:28:46.240
<v Speaker 1>You know, when you play a big festival with a

0:28:46.240 --> 0:28:48.280
<v Speaker 1>lot of people who don't know who you are. I

0:28:48.360 --> 0:28:50.800
<v Speaker 1>was walking around and literally hearing people like who the

0:28:50.800 --> 0:28:53.600
<v Speaker 1>funk are these guys? Like this is great? Who are

0:28:53.640 --> 0:28:56.280
<v Speaker 1>these guys? Who are these guys? It still happens, although

0:28:56.320 --> 0:28:59.600
<v Speaker 1>the the polar opposite of that. As we played jay

0:28:59.680 --> 0:29:02.240
<v Speaker 1>Z's festival in l A, The Made American Festival, We're

0:29:02.640 --> 0:29:04.200
<v Speaker 1>one of two rock bands on the bill. We had

0:29:04.200 --> 0:29:06.280
<v Speaker 1>a noon flot Who is the other rock band Weezer?

0:29:07.280 --> 0:29:09.880
<v Speaker 1>Who I uh yeah, I mean we can have the

0:29:09.880 --> 0:29:14.560
<v Speaker 1>Weezer conversation, but like you know, blue Out and Picker Tinner,

0:29:14.680 --> 0:29:17.680
<v Speaker 1>Masterpieces and the rest I can you know, I'll take

0:29:17.800 --> 0:29:23.320
<v Speaker 1>or leave. But we uh were with the other rock band.

0:29:23.320 --> 0:29:25.080
<v Speaker 1>But they have a following and they also have like

0:29:25.120 --> 0:29:28.880
<v Speaker 1>a rock radio, Like people are aware of Weezer. But

0:29:28.960 --> 0:29:31.600
<v Speaker 1>we go on stage at noon and like the curtain

0:29:31.720 --> 0:29:35.160
<v Speaker 1>dropped and the crowd is just like bewildered, like what

0:29:35.560 --> 0:29:38.120
<v Speaker 1>they had no idea what to do? They I just

0:29:38.160 --> 0:29:40.360
<v Speaker 1>remember like staring at people in they're like they're like

0:29:40.480 --> 0:29:44.400
<v Speaker 1>looking at the guitars, like, what's a guitar? What's that? Guy?

0:29:44.400 --> 0:29:46.719
<v Speaker 1>Are they in the wrong place? Well, and you know

0:29:46.800 --> 0:29:49.320
<v Speaker 1>it's not, because I mean, it's just the festival is

0:29:49.400 --> 0:29:53.680
<v Speaker 1>so E D M heavy. So the changeover between sets

0:29:53.920 --> 0:29:57.520
<v Speaker 1>fifteen minutes, which if any musicians are listening, like, is

0:29:57.520 --> 0:30:00.239
<v Speaker 1>a nightmare. You need at least like a half an

0:30:00.240 --> 0:30:02.320
<v Speaker 1>hour if you have a lot of gear, and we

0:30:02.400 --> 0:30:06.400
<v Speaker 1>have a lot of gear. Uh. So we had a

0:30:06.440 --> 0:30:11.360
<v Speaker 1>fifteen minute changeover and it was televised like worldwide broadcast,

0:30:11.960 --> 0:30:13.960
<v Speaker 1>and we're like we didn't even have our monitors on,

0:30:14.800 --> 0:30:18.720
<v Speaker 1>Like we're like, okay, and then you have our set

0:30:18.760 --> 0:30:22.000
<v Speaker 1>was a half hour. We played like six songs and

0:30:22.040 --> 0:30:24.320
<v Speaker 1>then we were done. Like I just remember like it

0:30:24.480 --> 0:30:27.040
<v Speaker 1>sounded as if you know, there's like that zen trope

0:30:27.040 --> 0:30:29.640
<v Speaker 1>of like the one hand clapping. It sounded like one

0:30:29.680 --> 0:30:31.760
<v Speaker 1>hand was clapping. I thought, this is gonna end in

0:30:31.800 --> 0:30:35.640
<v Speaker 1>a victorious and we want them all over. No, no, no,

0:30:36.680 --> 0:30:38.960
<v Speaker 1>So much of playing live is falling flat up, flat

0:30:39.000 --> 0:30:42.720
<v Speaker 1>on your face. Uh. And it's knowing that tomorrow will

0:30:42.720 --> 0:30:46.400
<v Speaker 1>be might be better, you know, um, but it's it's true.

0:30:46.840 --> 0:30:49.480
<v Speaker 1>We go out there and we try and I would

0:30:49.520 --> 0:30:52.640
<v Speaker 1>hate it if I went up and played a set passively,

0:30:53.320 --> 0:30:55.040
<v Speaker 1>and I think the rest of the band feels that way.

0:30:55.360 --> 0:30:56.760
<v Speaker 1>You always get a sense that you guys are working

0:30:56.760 --> 0:31:00.000
<v Speaker 1>your asses off up there to like deliver a fun experience,

0:31:00.400 --> 0:31:02.520
<v Speaker 1>and we tried to make it easier, and I don't

0:31:02.520 --> 0:31:05.760
<v Speaker 1>think it's ever gonna happen. Even with our new record. Um,

0:31:05.880 --> 0:31:08.760
<v Speaker 1>we tried to pair things down and even simplify further,

0:31:09.000 --> 0:31:12.160
<v Speaker 1>and it's still like, it's not a walk in the park.

0:31:12.760 --> 0:31:18.600
<v Speaker 1>I love the new record. Um, it's so chill and

0:31:18.720 --> 0:31:22.800
<v Speaker 1>so um. It's like because I kind of know Dr

0:31:22.840 --> 0:31:26.000
<v Speaker 1>Dog is sort of the rollicking bar band thing and

0:31:26.040 --> 0:31:27.959
<v Speaker 1>there are a couple of tunes on there like that

0:31:28.000 --> 0:31:30.800
<v Speaker 1>for sure, but I really like the vibe of this one.

0:31:30.960 --> 0:31:34.600
<v Speaker 1>Thank you. Yeah. It was a conscious choice, Yeah, trying

0:31:34.640 --> 0:31:37.040
<v Speaker 1>to be a little bit more ethereal with the last

0:31:37.040 --> 0:31:41.600
<v Speaker 1>two records because we've done the rock record a last

0:31:41.640 --> 0:31:43.880
<v Speaker 1>two meaning because you guys have put out a couple

0:31:43.920 --> 0:31:46.560
<v Speaker 1>of interesting things lately. Yeah, to talk about that, I

0:31:46.560 --> 0:31:50.800
<v Speaker 1>mean it's like we've got so we recorded a band

0:31:50.800 --> 0:31:54.040
<v Speaker 1>of Mansions first, so that was two thousand fourteen, and

0:31:54.080 --> 0:31:56.840
<v Speaker 1>then that project got shelved for a while, got shelved

0:31:56.880 --> 0:32:00.560
<v Speaker 1>until the end of two thousand sixteen because an opportunity

0:32:00.600 --> 0:32:03.600
<v Speaker 1>came along. We got a grant to finally put on

0:32:03.600 --> 0:32:06.560
<v Speaker 1>a stage show for a record called The Psychedelic Swamp,

0:32:07.080 --> 0:32:09.120
<v Speaker 1>which just like the first thing ever, right, it's the

0:32:09.160 --> 0:32:12.520
<v Speaker 1>first thing that Scott and Toby recorded as Dr Dog.

0:32:13.000 --> 0:32:15.120
<v Speaker 1>They had another band called Raccoon that was like more

0:32:15.160 --> 0:32:19.080
<v Speaker 1>popular around Philadelphia, but Dr Dog was like their home

0:32:19.120 --> 0:32:24.480
<v Speaker 1>recording project, and they made this crazy like actually a

0:32:24.520 --> 0:32:26.960
<v Speaker 1>Zappa reference. It's almost like the Zappa record Uncle Meat,

0:32:27.080 --> 0:32:34.280
<v Speaker 1>like it's really Collagi And they made this weird tape record,

0:32:34.520 --> 0:32:37.160
<v Speaker 1>like there's like twenty five copies of it out there.

0:32:37.240 --> 0:32:40.080
<v Speaker 1>There's some of it's on YouTube, like a dilapidated tape.

0:32:41.080 --> 0:32:44.160
<v Speaker 1>And then, uh, we got this opportunity to do a

0:32:44.280 --> 0:32:46.800
<v Speaker 1>stage show with the Pig Iron Theater Company in Philly,

0:32:46.880 --> 0:32:49.400
<v Speaker 1>and The Swamp was just the right thing and had

0:32:49.440 --> 0:32:51.840
<v Speaker 1>a full concept. It almost had like a full libretto.

0:32:53.200 --> 0:32:55.480
<v Speaker 1>So we got money to do that, and then we

0:32:55.520 --> 0:32:57.760
<v Speaker 1>did a stage show in Philly for four nights with

0:32:58.120 --> 0:33:00.160
<v Speaker 1>a full theater troupe, and it was one of the

0:33:00.200 --> 0:33:03.520
<v Speaker 1>most creatively satisfying things like I've ever been a part

0:33:03.560 --> 0:33:06.680
<v Speaker 1>of which is great. But we had this great record

0:33:06.880 --> 0:33:08.760
<v Speaker 1>I like, I love a band of Mansions, and I

0:33:08.800 --> 0:33:10.080
<v Speaker 1>was like, man, when does the band of Mansions that

0:33:10.080 --> 0:33:13.320
<v Speaker 1>we're going to come out? Swamp took the precedence. We

0:33:13.360 --> 0:33:17.320
<v Speaker 1>made a companion record to the theater show, and so

0:33:17.360 --> 0:33:19.800
<v Speaker 1>when we released it, our fans were like, what is this?

0:33:20.200 --> 0:33:23.960
<v Speaker 1>Like you real wait, you re recorded an album? So

0:33:24.000 --> 0:33:26.560
<v Speaker 1>I think it was confusing for people. And then we

0:33:26.680 --> 0:33:28.360
<v Speaker 1>toured it but we didn't really like play any of

0:33:28.360 --> 0:33:30.320
<v Speaker 1>the songs from it. And then at the end of

0:33:30.320 --> 0:33:33.000
<v Speaker 1>two thousand and sixteen, we lost the member that year

0:33:33.240 --> 0:33:36.400
<v Speaker 1>he quit and it's all good. He It was just

0:33:36.440 --> 0:33:39.760
<v Speaker 1>like he was a really important member and fan and

0:33:39.920 --> 0:33:45.720
<v Speaker 1>uh then uh Trump got elected and we were like, uh,

0:33:45.720 --> 0:33:47.720
<v Speaker 1>like we had plans to release a band of Mansions,

0:33:47.760 --> 0:33:51.280
<v Speaker 1>and then we were like, well, it doesn't feel right

0:33:51.320 --> 0:33:55.600
<v Speaker 1>to do anything now, it doesn't feel right to live.

0:33:55.720 --> 0:33:58.680
<v Speaker 1>Like I were just like, yeah, you know, like some

0:33:58.720 --> 0:34:01.360
<v Speaker 1>of the band members have kids, and they're just like,

0:34:01.520 --> 0:34:05.160
<v Speaker 1>what's our future looking like? So we decided to put

0:34:05.160 --> 0:34:07.680
<v Speaker 1>out Mansions and it was already set in stone, but

0:34:07.720 --> 0:34:11.120
<v Speaker 1>then we made the decision to make it um all

0:34:11.120 --> 0:34:13.680
<v Speaker 1>we donated all the money to the Southern Property Law

0:34:13.719 --> 0:34:17.520
<v Speaker 1>Center and a sort of a great, Okay, we can't

0:34:17.560 --> 0:34:21.320
<v Speaker 1>take money from people right now, there's so much suffering happening.

0:34:21.440 --> 0:34:24.280
<v Speaker 1>Let's donate it to a cause that could hopefully help people.

0:34:25.400 --> 0:34:27.879
<v Speaker 1>And then we took a year off from doring, which

0:34:27.920 --> 0:34:31.680
<v Speaker 1>we haven't done since I joined the band. UM. So

0:34:31.719 --> 0:34:33.880
<v Speaker 1>that's where that's kind of where we got to critical

0:34:33.920 --> 0:34:39.240
<v Speaker 1>equation UM. And then taking that year off, it's uh

0:34:39.400 --> 0:34:42.680
<v Speaker 1>you sort of realized like, Okay, maybe the band could

0:34:42.680 --> 0:34:45.839
<v Speaker 1>be functioning a lot better, UM, and the band could

0:34:45.880 --> 0:34:49.280
<v Speaker 1>be communicating a lot better. So the whole emphasis behind

0:34:49.280 --> 0:34:54.120
<v Speaker 1>this record was to uh find a way to get

0:34:54.160 --> 0:34:58.719
<v Speaker 1>better at being a band. Uh. I hesitate to say

0:34:58.760 --> 0:35:02.680
<v Speaker 1>in some kind of Monster your Metallica documentary way, because

0:35:02.719 --> 0:35:05.239
<v Speaker 1>we didn't we didn't hire a therapist, but we've been

0:35:05.280 --> 0:35:08.520
<v Speaker 1>acting as our own therapists for this for this record,

0:35:08.640 --> 0:35:12.000
<v Speaker 1>which you made a concerted effort. It was a concerted

0:35:12.080 --> 0:35:17.200
<v Speaker 1>effort to do something uh more more in the ethereal

0:35:17.280 --> 0:35:20.160
<v Speaker 1>zone because abandon Mansions had started to touch on that,

0:35:20.239 --> 0:35:22.719
<v Speaker 1>and then The Swamp had had some elements of that,

0:35:22.719 --> 0:35:25.839
<v Speaker 1>but it was still very much like a really like

0:35:25.920 --> 0:35:28.759
<v Speaker 1>abstract and brash record. Yeah. I listened to that this morning.

0:35:28.760 --> 0:35:31.359
<v Speaker 1>Actually it's weird. Yeah, it's a weird record. Every song

0:35:31.440 --> 0:35:34.799
<v Speaker 1>has the lyric Swamp in it. Uh notice that. Yeah,

0:35:35.000 --> 0:35:37.360
<v Speaker 1>we'll go back and listen to it. It's weird. Um,

0:35:37.400 --> 0:35:40.560
<v Speaker 1>but it's also trying to tell this story. Like if

0:35:40.560 --> 0:35:43.560
<v Speaker 1>we had done the Swamp again, if if I could

0:35:44.040 --> 0:35:48.759
<v Speaker 1>George lucas the situation, I would uh, I would have

0:35:48.840 --> 0:35:52.000
<v Speaker 1>like included a full, like forty page libretto with that record,

0:35:52.080 --> 0:35:55.400
<v Speaker 1>explaining why we did it. But instead it's like you

0:35:55.440 --> 0:35:57.640
<v Speaker 1>get the vinyl and then you're like, what is the

0:35:57.719 --> 0:36:01.440
<v Speaker 1>song about? Whose phrases? And what is the swamp? Like

0:36:01.719 --> 0:36:04.040
<v Speaker 1>there's all these characters that I mentioned in the lyric,

0:36:04.080 --> 0:36:08.239
<v Speaker 1>but there's nothing in the book the booklet would describe that.

0:36:08.680 --> 0:36:11.239
<v Speaker 1>So to anyone who's listening who's a doctor doc fan,

0:36:11.680 --> 0:36:14.359
<v Speaker 1>I'm sorry, and uh, if you ever want to know

0:36:14.400 --> 0:36:17.799
<v Speaker 1>this story, um, just ask me and I try to

0:36:17.840 --> 0:36:20.560
<v Speaker 1>tell you, but you might have to be real high

0:36:20.640 --> 0:36:25.120
<v Speaker 1>to understand it. Right. Well, it might not be a wrong. Well,

0:36:25.160 --> 0:36:27.399
<v Speaker 1>I love the new record. It's really great. It's it's

0:36:27.440 --> 0:36:30.320
<v Speaker 1>got such a cool jill vibe and it. It feels

0:36:30.360 --> 0:36:32.719
<v Speaker 1>like a record made with a bunch of guys in

0:36:32.760 --> 0:36:35.920
<v Speaker 1>a room. That's it. That's what we're trying to go for.

0:36:36.200 --> 0:36:38.040
<v Speaker 1>We did, and we did. We were in a very

0:36:38.040 --> 0:36:40.640
<v Speaker 1>small room with a guy named gust Staffert. Okay, I

0:36:40.680 --> 0:36:43.640
<v Speaker 1>was gonna I saw that video that your folks sat

0:36:44.000 --> 0:36:46.000
<v Speaker 1>that kind of just short making of I wondered who

0:36:46.000 --> 0:36:49.600
<v Speaker 1>that guy was, Gust Staffert. He uh. I first became

0:36:49.600 --> 0:36:51.319
<v Speaker 1>aware of him. I went to go see back and

0:36:51.360 --> 0:36:52.880
<v Speaker 1>there was a good dude place. I saw him like

0:36:52.880 --> 0:36:56.319
<v Speaker 1>two weeks ago, man at the Tabernacle. Man Back. He's

0:36:56.760 --> 0:36:59.560
<v Speaker 1>I see back every time I can. Do you know

0:36:59.800 --> 0:37:03.319
<v Speaker 1>the what Torres did she open? We didn't uh go

0:37:03.480 --> 0:37:09.120
<v Speaker 1>for the opener? It's okay, busy people. Yeah. Um Beck

0:37:09.239 --> 0:37:12.160
<v Speaker 1>is phenomenal. I saw him a couple of years ago

0:37:12.200 --> 0:37:15.319
<v Speaker 1>at the Rheman and it's like you could focus on

0:37:15.320 --> 0:37:16.879
<v Speaker 1>any member of the band and be like, oh my god,

0:37:16.880 --> 0:37:19.360
<v Speaker 1>oh my god, oh my god. Smokey Hormel a guitar player.

0:37:19.560 --> 0:37:22.439
<v Speaker 1>Well they're also nimble, like like, okay, are we gonna

0:37:22.480 --> 0:37:27.680
<v Speaker 1>be the bluegrass band? The James Brown Band or the

0:37:28.160 --> 0:37:31.120
<v Speaker 1>and like weird p FU. Yeah, yeah, totally so like

0:37:31.280 --> 0:37:33.319
<v Speaker 1>you know, I'm what you could focus on just the

0:37:33.320 --> 0:37:36.319
<v Speaker 1>metal Johnson the bass player, Joey Warrenker the drummer. Um,

0:37:36.480 --> 0:37:38.239
<v Speaker 1>oh is that Joey. I didn't know that Joey or

0:37:38.360 --> 0:37:39.840
<v Speaker 1>not on the not the gig you saw it was

0:37:40.120 --> 0:37:43.200
<v Speaker 1>named Chris Coleman. Jelley Warnker is bex dude whenever he

0:37:43.239 --> 0:37:46.279
<v Speaker 1>can because he's he's been around forever. Oh my god, yeah,

0:37:46.360 --> 0:37:50.560
<v Speaker 1>totally so. And then Gus was playing auxiliary and he

0:37:50.600 --> 0:37:52.719
<v Speaker 1>was like playing cello at one point. I mean, he's

0:37:52.800 --> 0:37:55.240
<v Speaker 1>just like an all around he can do everything guy.

0:37:55.400 --> 0:37:57.160
<v Speaker 1>And so that's how I became aware of him. I

0:37:57.200 --> 0:37:59.800
<v Speaker 1>didn't know that he was like a production guy rum

0:38:00.920 --> 0:38:03.600
<v Speaker 1>and then I became even more aware of him. My

0:38:03.600 --> 0:38:08.440
<v Speaker 1>my girlfriend Natalie Prass recorded some tracks with him in

0:38:08.680 --> 0:38:11.719
<v Speaker 1>l a UM and she used Becks Band as the

0:38:11.719 --> 0:38:14.319
<v Speaker 1>backup band for some of the tracks. And I just

0:38:14.440 --> 0:38:17.239
<v Speaker 1>kept hearing about him, you know. Um. And then he

0:38:17.280 --> 0:38:19.480
<v Speaker 1>got the gate with Roger Waters, so now he plays

0:38:19.560 --> 0:38:21.600
<v Speaker 1>really so now he plays bass with Roger Waters and

0:38:21.640 --> 0:38:25.400
<v Speaker 1>Joey Warnker is the drummer, and uh, Roger Waters not

0:38:25.440 --> 0:38:28.600
<v Speaker 1>playing bass. Roger Waters likes like he does on some songs.

0:38:28.600 --> 0:38:30.840
<v Speaker 1>But he also likes to play acoustic guitar, and then

0:38:30.880 --> 0:38:32.880
<v Speaker 1>there's also parts where he's got like a headset microphone.

0:38:32.920 --> 0:38:35.520
<v Speaker 1>He's acting out the wall. He's doing the Roger Water

0:38:35.560 --> 0:38:37.960
<v Speaker 1>He's doing the Roger Waters thing. He's like a wall.

0:38:39.880 --> 0:38:44.640
<v Speaker 1>So it was cool because we started working with Gus

0:38:44.680 --> 0:38:47.200
<v Speaker 1>like in the in a break of Roger Waters touring.

0:38:47.280 --> 0:38:51.399
<v Speaker 1>So like, I feel like this record is kind of floety. Yeah. Man,

0:38:51.560 --> 0:38:54.520
<v Speaker 1>there's some like realte to say trippy because it's such

0:38:54.520 --> 0:38:57.200
<v Speaker 1>a it is trippy, though it's okay to sage trippy

0:38:57.560 --> 0:39:01.080
<v Speaker 1>because it's one of those like I do with my Uh.

0:39:01.160 --> 0:39:03.160
<v Speaker 1>I had my regular listening at home on the so

0:39:03.320 --> 0:39:06.200
<v Speaker 1>nose of course, But anytime one of my bands comes

0:39:06.200 --> 0:39:08.520
<v Speaker 1>out with a new record since I was in high school,

0:39:08.520 --> 0:39:11.960
<v Speaker 1>I do a serious headphone listen by myself in a

0:39:12.080 --> 0:39:16.120
<v Speaker 1>room hopefully dark with the headphones on. And that's really

0:39:16.160 --> 0:39:18.600
<v Speaker 1>where you get the full experience with the ship. Yeah,

0:39:18.680 --> 0:39:20.680
<v Speaker 1>and I did that with this one, and I was like, man,

0:39:20.719 --> 0:39:23.000
<v Speaker 1>there's a lot a lot of trippy ship going on

0:39:23.000 --> 0:39:25.720
<v Speaker 1>in this one. It's a trippy record and uh we

0:39:25.880 --> 0:39:28.680
<v Speaker 1>you know, we recorded it and it's like his his

0:39:28.880 --> 0:39:33.400
<v Speaker 1>like a converted home studio that has like you know

0:39:33.440 --> 0:39:36.680
<v Speaker 1>that there's a Portland a joke about like this is

0:39:36.680 --> 0:39:40.000
<v Speaker 1>the microphone from pet Sounds. So the first day of recording,

0:39:40.120 --> 0:39:44.360
<v Speaker 1>like there's this Celeste or Celeste. It's a like a

0:39:44.480 --> 0:39:47.400
<v Speaker 1>very specific instrument. Um that's like it's almost like a

0:39:47.600 --> 0:39:51.600
<v Speaker 1>it's like a unplugged Fender rhodor something. Yeah. Or it

0:39:51.600 --> 0:39:53.920
<v Speaker 1>has like a kind of like belt like tone. And

0:39:53.920 --> 0:39:55.839
<v Speaker 1>I go to play it and Gus it's like, oh,

0:39:55.880 --> 0:39:58.279
<v Speaker 1>that's the Celeste from pet Sounds. And I'm like, ha

0:39:58.200 --> 0:40:01.959
<v Speaker 1>ha Portland, right. He's like, no, that's that's the one.

0:40:02.880 --> 0:40:04.319
<v Speaker 1>I was like, did you take your hands off of it?

0:40:04.360 --> 0:40:07.040
<v Speaker 1>I was just like and then I look at it.

0:40:07.080 --> 0:40:09.040
<v Speaker 1>I'm like, oh, yeah, this totally has to be I

0:40:09.040 --> 0:40:12.120
<v Speaker 1>mean it's just like, yeah, beat the crap. He's like yeah,

0:40:12.280 --> 0:40:17.399
<v Speaker 1>He's like Roger Water's money. That's great. This Roger Waters

0:40:17.400 --> 0:40:19.319
<v Speaker 1>when he went and bought this the less from pet

0:40:19.400 --> 0:40:22.760
<v Speaker 1>Sounds great. I could never even imagine being in that position.

0:40:22.840 --> 0:40:24.960
<v Speaker 1>I've always gotten a bit of a beach boise vibe

0:40:25.280 --> 0:40:28.320
<v Speaker 1>from Dr Dog too. Oh it's beach boys worship. Yeah,

0:40:28.480 --> 0:40:30.920
<v Speaker 1>and um yeah, totally every time I see you know

0:40:31.000 --> 0:40:33.120
<v Speaker 1>that you described as a psychedelic rock band. Ago, They're

0:40:33.160 --> 0:40:35.000
<v Speaker 1>not a psychedelic rock band. But then when I was

0:40:35.040 --> 0:40:36.839
<v Speaker 1>listening to the headphones at sea and I was like, oh,

0:40:37.040 --> 0:40:39.840
<v Speaker 1>they are kind of a psychedelic rock band. Yeah, because

0:40:39.880 --> 0:40:42.440
<v Speaker 1>I think of something different when I hear that. No,

0:40:43.440 --> 0:40:46.719
<v Speaker 1>that's a stude. I like we you know, everyone tries

0:40:46.760 --> 0:40:49.920
<v Speaker 1>to define Dr Dog by some something. Yeah, we just

0:40:49.960 --> 0:40:51.840
<v Speaker 1>say we're a rock and roll band. Yeah, like I

0:40:51.880 --> 0:40:53.920
<v Speaker 1>think of Black Mountain. When I think of a psychedelic

0:40:54.000 --> 0:40:57.120
<v Speaker 1>rock band, I think of something much heavier. Yeah, Sleep Yeah,

0:40:57.320 --> 0:41:00.880
<v Speaker 1>Sleep is a is a psychedelic band, yeah, exactly. Uh.

0:41:01.000 --> 0:41:03.080
<v Speaker 1>But we we your Doctor Dog. That's how I describe

0:41:03.120 --> 0:41:05.680
<v Speaker 1>you as. Like, you know, you always reminded me of

0:41:05.760 --> 0:41:09.400
<v Speaker 1>the Beach Boys meets the band uh, with some little

0:41:09.400 --> 0:41:11.319
<v Speaker 1>Beetles thrown in. We get we get the Three Bees

0:41:11.360 --> 0:41:14.920
<v Speaker 1>a lot Beach Boys band, Beatles. Oh yeah, and and

0:41:14.920 --> 0:41:18.120
<v Speaker 1>and rightfully so, I mean like those are all bands

0:41:18.160 --> 0:41:21.600
<v Speaker 1>that we've grown to love and and and uh last

0:41:21.680 --> 0:41:24.160
<v Speaker 1>night we were playing through like I mean, we were

0:41:24.160 --> 0:41:26.560
<v Speaker 1>playing through Beatles songs last night. We had like a

0:41:26.560 --> 0:41:30.520
<v Speaker 1>big campfire type vibe after the show Birmingham, and we

0:41:30.520 --> 0:41:33.400
<v Speaker 1>were playing through like but we're also playing like will Berries,

0:41:35.320 --> 0:41:37.440
<v Speaker 1>we were playing a lot of stuff last night. Uh,

0:41:37.480 --> 0:41:41.520
<v Speaker 1>we're playing some All things must Pass Like yeah, um,

0:41:41.560 --> 0:41:43.960
<v Speaker 1>but you know we get those three be's a lot

0:41:44.000 --> 0:41:47.520
<v Speaker 1>and Beach Boys are obviously a a point of fascination

0:41:47.560 --> 0:41:50.520
<v Speaker 1>for all of us. But Steely Dan, I would I

0:41:50.560 --> 0:41:53.840
<v Speaker 1>would actually say, if you listen to Toby songs, really

0:41:53.840 --> 0:41:56.320
<v Speaker 1>try and catch the Steely Dan influence. I'm not joking,

0:41:56.520 --> 0:42:00.000
<v Speaker 1>like I love Steele. We have and I and I'm

0:42:00.239 --> 0:42:03.240
<v Speaker 1>I'm a Steely Dan look obsessive. So I really feel

0:42:03.280 --> 0:42:06.360
<v Speaker 1>like we're at a point now where we're in a

0:42:06.400 --> 0:42:10.480
<v Speaker 1>little bit of a Dan zone, Like especially working with Gus. Um,

0:42:10.640 --> 0:42:13.560
<v Speaker 1>Gus is so hot. He's like constantly talking about high

0:42:13.560 --> 0:42:16.799
<v Speaker 1>fi gear and like you know, like this board was

0:42:16.880 --> 0:42:20.400
<v Speaker 1>used for this classic recording. Like we're we're starting to

0:42:20.560 --> 0:42:24.000
<v Speaker 1>enter this like our Steely Dan phase and I'm like

0:42:24.280 --> 0:42:36.480
<v Speaker 1>so psychic. Great. So it's like, oh man, well I

0:42:36.520 --> 0:42:39.080
<v Speaker 1>could do this all day, but we need to talk

0:42:39.120 --> 0:42:41.960
<v Speaker 1>about the big Lebowski we do. Um, I can't wait.

0:42:42.000 --> 0:42:46.080
<v Speaker 1>I appreciate you indulging me. It's funny. My my lead

0:42:46.120 --> 0:42:50.120
<v Speaker 1>guitarist Eddie is coming tonight. We're both very excited and

0:42:50.800 --> 0:42:52.320
<v Speaker 1>out of the corner, and I saw him texting me

0:42:52.480 --> 0:42:54.160
<v Speaker 1>right now are you talking to him? So, oh yeah,

0:42:54.160 --> 0:42:56.440
<v Speaker 1>you're talking to me, and we're about to get into

0:42:56.480 --> 0:42:59.040
<v Speaker 1>my favorite uh you know, I would love to say

0:42:59.120 --> 0:43:02.360
<v Speaker 1>like eight and a half or like, uh two One

0:43:02.400 --> 0:43:04.520
<v Speaker 1>of Space obviously is my favorite movie. But this show

0:43:04.600 --> 0:43:08.680
<v Speaker 1>is let's let's put all of our pretensions aside and

0:43:08.719 --> 0:43:11.839
<v Speaker 1>talk about The Big Lebowski because movies that have been

0:43:11.840 --> 0:43:14.879
<v Speaker 1>picked for this have been like die Hard, Tron Tron,

0:43:15.000 --> 0:43:19.839
<v Speaker 1>Big Lebowski, Billy Madisvengerson. Billy Madison is the only other

0:43:19.840 --> 0:43:21.600
<v Speaker 1>one I could talk about with the same kind of

0:43:22.120 --> 0:43:24.600
<v Speaker 1>really well, just because I've seen it. Next year, when

0:43:24.640 --> 0:43:27.000
<v Speaker 1>you guys come back around, yeah, back in So I

0:43:27.040 --> 0:43:31.080
<v Speaker 1>watched this again last night. I'm a Cohen Brothers um

0:43:31.160 --> 0:43:35.279
<v Speaker 1>fanatic um. The only other film I've covered so far

0:43:35.320 --> 0:43:38.239
<v Speaker 1>on this has been Miller's Crossing with a with a

0:43:38.280 --> 0:43:41.000
<v Speaker 1>comedian named Ben Acker, a good friend of mine, and

0:43:41.120 --> 0:43:44.000
<v Speaker 1>um Surprice. I't din't Fargo yet. Someone will pick that

0:43:44.040 --> 0:43:48.160
<v Speaker 1>at some point, But Big Lebowski I think followed up

0:43:48.160 --> 0:43:52.239
<v Speaker 1>far Ago if I'm not mistaken, which uh you know

0:43:52.280 --> 0:43:57.359
<v Speaker 1>they make this Oscar winning UM crime caper followed up

0:43:57.360 --> 0:44:00.759
<v Speaker 1>by this crime caper, Like they do crime papers better

0:44:00.800 --> 0:44:04.040
<v Speaker 1>than anyone if they didn't kind of convoluted crime capers. Yes,

0:44:04.200 --> 0:44:07.600
<v Speaker 1>but Lebowski had such a different tone, and they established

0:44:07.600 --> 0:44:11.520
<v Speaker 1>it right off the bat with the drifting, tumbling tumbleweed

0:44:11.600 --> 0:44:15.160
<v Speaker 1>song and the literal tumbleweed tumbling towards Los Angeles. You

0:44:15.160 --> 0:44:21.879
<v Speaker 1>get Anglis, Yeah, you get Sam's beautiful, rich baritone doing

0:44:21.880 --> 0:44:25.480
<v Speaker 1>this sometimes there's a man. Man. It just sets that

0:44:25.520 --> 0:44:27.799
<v Speaker 1>tone right up the bat. Oh, and uh, you know

0:44:28.400 --> 0:44:31.160
<v Speaker 1>you've got the tumbleweed. But then you're at Ralph's. Yeah,

0:44:31.760 --> 0:44:35.240
<v Speaker 1>it's such a jarring juxtaposition. And then you're at Ralph's

0:44:35.560 --> 0:44:37.520
<v Speaker 1>fluorescent lighting of her else and like why is this

0:44:37.560 --> 0:44:41.800
<v Speaker 1>guy in the dairy section? Yeah? And like why is

0:44:41.800 --> 0:44:43.840
<v Speaker 1>he in the dairy section? And why is he writing

0:44:43.840 --> 0:44:49.560
<v Speaker 1>a check for sixty some cents or whatever? Yeah? Uh,

0:44:49.680 --> 0:44:52.279
<v Speaker 1>and he's like trying, obviously trying to flirt with the

0:44:52.320 --> 0:44:57.520
<v Speaker 1>cashier and she's not having it. And um, that opening scene,

0:44:57.560 --> 0:44:59.960
<v Speaker 1>you know, it's funny. I remember when The Big Labass

0:45:00.040 --> 0:45:03.040
<v Speaker 1>he came out, and I remember reading a review of

0:45:03.080 --> 0:45:06.640
<v Speaker 1>it in the Philadelphia Inquirer that was sort of like

0:45:07.239 --> 0:45:10.880
<v Speaker 1>why did the Coen Brothers make this film? It's enjoyable,

0:45:11.000 --> 0:45:15.240
<v Speaker 1>but why did they make this film? What is this film?

0:45:15.800 --> 0:45:20.640
<v Speaker 1>And um, you know, uh, I think about weird Al

0:45:20.719 --> 0:45:23.399
<v Speaker 1>Yankovic actually because he's like, he's like, for me, it's

0:45:23.440 --> 0:45:25.640
<v Speaker 1>every other record that seems to be the one that

0:45:25.680 --> 0:45:28.240
<v Speaker 1>touches people. He's like, he's like, I'll have a huge

0:45:28.239 --> 0:45:30.080
<v Speaker 1>record that does really well, and then the next one

0:45:30.120 --> 0:45:32.400
<v Speaker 1>will be one that's very personal to me and the

0:45:32.520 --> 0:45:35.040
<v Speaker 1>and the public might not understand it. So he had

0:45:35.080 --> 0:45:37.400
<v Speaker 1>like Running with Scissors, which was like a huge record

0:45:37.440 --> 0:45:40.400
<v Speaker 1>for him, and then it's like Poodle Hat and you're like,

0:45:40.400 --> 0:45:44.720
<v Speaker 1>what's poodle had? You know, it's like a really weird record. Um,

0:45:44.880 --> 0:45:47.000
<v Speaker 1>he's like, but he loves that record. And that's kind

0:45:47.040 --> 0:45:48.800
<v Speaker 1>of the way of view Lebowski because Lebowski is in

0:45:48.800 --> 0:45:51.480
<v Speaker 1>between Fargo and Oh Brother were out though, two massively

0:45:51.520 --> 0:45:54.440
<v Speaker 1>successful Coen Brothers films, and then you have this like

0:45:54.680 --> 0:45:57.960
<v Speaker 1>what is this weird child that they've created, Like it's

0:45:58.880 --> 0:46:02.000
<v Speaker 1>uh oh. So the first time I watched The Big Lebowski,

0:46:02.400 --> 0:46:06.919
<v Speaker 1>I was on a my first tour because seventeen years old,

0:46:07.520 --> 0:46:09.560
<v Speaker 1>and uh, I was on a tour with a bunch

0:46:09.600 --> 0:46:12.239
<v Speaker 1>of other seventeen year olds playing playing rock and roll

0:46:12.320 --> 0:46:14.759
<v Speaker 1>music for this thing called the School of Rock. It

0:46:14.880 --> 0:46:16.600
<v Speaker 1>wasn't had nothing to do with the movie School of Rock.

0:46:16.719 --> 0:46:19.319
<v Speaker 1>It was a program in Philadelphia and we were like

0:46:20.000 --> 0:46:24.640
<v Speaker 1>doing a summer tour playing like classic rock songs, and

0:46:25.200 --> 0:46:27.520
<v Speaker 1>somebody was like, we should watch The Big Lebowski. Remember

0:46:27.520 --> 0:46:30.000
<v Speaker 1>watching it and be like, I don't get it. I

0:46:30.000 --> 0:46:32.120
<v Speaker 1>don't get it. I don't understand what this movie is about.

0:46:32.920 --> 0:46:35.400
<v Speaker 1>And then two thousand and thirteen came along and I

0:46:35.440 --> 0:46:38.200
<v Speaker 1>was on a Doctor Dog tour and I was going

0:46:38.239 --> 0:46:40.160
<v Speaker 1>through kind of a hard time, like I was, I

0:46:40.200 --> 0:46:43.879
<v Speaker 1>was moving away from Philadelphia and uh, I wasn't kind

0:46:43.920 --> 0:46:45.719
<v Speaker 1>of in a relationship, but it wasn't really going that

0:46:45.760 --> 0:46:48.520
<v Speaker 1>well and I needed something to put my mind off

0:46:48.520 --> 0:46:50.920
<v Speaker 1>of things. And we had a copy of The Big

0:46:51.000 --> 0:46:53.040
<v Speaker 1>Lebowski on DVD on the tour bus, and I just

0:46:53.080 --> 0:46:56.799
<v Speaker 1>put it in one day and I watched it every

0:46:56.840 --> 0:47:01.400
<v Speaker 1>day for six weeks. Yes, it was. It has become

0:47:01.480 --> 0:47:04.839
<v Speaker 1>such an important movie to me, as like it's there's

0:47:04.880 --> 0:47:08.879
<v Speaker 1>like a zen books written about Lebowski. Uh, there's even

0:47:08.880 --> 0:47:11.200
<v Speaker 1>a book like that's like co authored by Jeff Bridges.

0:47:11.280 --> 0:47:13.440
<v Speaker 1>Like the Dude and the Dude in the Zen Masters

0:47:13.640 --> 0:47:17.960
<v Speaker 1>It's called which I've read It's fantastic book. Um, and

0:47:18.120 --> 0:47:21.359
<v Speaker 1>the movie became part of my zen training. I also

0:47:21.560 --> 0:47:24.760
<v Speaker 1>practiced meditation twice a day, so like watching this movie

0:47:24.760 --> 0:47:28.040
<v Speaker 1>and meditating, like it all became the same thing. And

0:47:28.080 --> 0:47:31.920
<v Speaker 1>I got so immersed in The Big Lebowski, like to

0:47:31.960 --> 0:47:33.799
<v Speaker 1>the point where by the end of week six, like

0:47:33.840 --> 0:47:36.080
<v Speaker 1>I'm watching the movie and saying lines along with it,

0:47:36.160 --> 0:47:39.160
<v Speaker 1>and it's like I know the script now. Yeah, so okay,

0:47:39.360 --> 0:47:41.319
<v Speaker 1>I drifted for a second, but back to the movie.

0:47:41.400 --> 0:47:43.840
<v Speaker 1>No, no no, no, that's that is That is the drift

0:47:44.400 --> 0:47:46.520
<v Speaker 1>you know of The Big Lebowski. It will do that.

0:47:46.600 --> 0:47:48.879
<v Speaker 1>It is more than a movie. I mean, clearly they're

0:47:48.920 --> 0:47:50.960
<v Speaker 1>in there. I believe this is gonna be the seventeenth

0:47:51.040 --> 0:47:54.000
<v Speaker 1>year of Lebowski Fest. Have you ever been by the

0:47:54.000 --> 0:47:56.879
<v Speaker 1>way Dr Doc has played Lebowski Fest? What Dr Dog

0:47:56.920 --> 0:48:00.560
<v Speaker 1>played the Louisville Lebowski. No shit. And we had to learn, uh,

0:48:00.920 --> 0:48:02.759
<v Speaker 1>we had to learn. Just dropped in to see what

0:48:03.120 --> 0:48:06.800
<v Speaker 1>you know? The can you under Roger? As we learned, Uh,

0:48:06.880 --> 0:48:09.160
<v Speaker 1>the Captain Beefheart song from the movie where he's where

0:48:09.200 --> 0:48:12.000
<v Speaker 1>he's lying on the floor and uh, Smokey calls him

0:48:12.000 --> 0:48:14.200
<v Speaker 1>and he leaves in the voicemail. Ye, the song that's

0:48:14.200 --> 0:48:17.320
<v Speaker 1>playing there, we learned that song and Smokey is uh

0:48:17.360 --> 0:48:21.040
<v Speaker 1>what's his name to gi? Yeah, yeah, one of my

0:48:21.320 --> 0:48:23.080
<v Speaker 1>one of the I mean, see, that's the thing I

0:48:23.120 --> 0:48:24.600
<v Speaker 1>could say, Like, it's one of my favorite scenes in

0:48:24.640 --> 0:48:28.040
<v Speaker 1>the movie when when he says market zero or you know,

0:48:28.160 --> 0:48:30.360
<v Speaker 1>market eight, market zero marketing and then you're ending a

0:48:30.440 --> 0:48:34.319
<v Speaker 1>smoky yer and entering a world of pain. Uh. You know,

0:48:34.960 --> 0:48:36.680
<v Speaker 1>such an intense scene. My wife last night was like,

0:48:36.760 --> 0:48:39.279
<v Speaker 1>oh my god, but there's something it's so intense. But

0:48:39.320 --> 0:48:46.160
<v Speaker 1>there's something about Smokey's uh one over one over, like

0:48:46.280 --> 0:48:50.319
<v Speaker 1>he's so his character is so believable. Yeah, uh in

0:48:50.360 --> 0:48:53.960
<v Speaker 1>a in a situation where so many characters are unbelievable,

0:48:54.360 --> 0:48:57.839
<v Speaker 1>like uh, to turo as the Jesus, like like, who

0:48:57.880 --> 0:49:02.520
<v Speaker 1>does that guy exist? Or uh, I mean Walter definitely exists,

0:49:03.400 --> 0:49:06.719
<v Speaker 1>which is he's based on the filmmaker John Millius. Oh

0:49:06.760 --> 0:49:08.880
<v Speaker 1>I didn't know that. Yeah, And actually the dude is

0:49:08.880 --> 0:49:11.040
<v Speaker 1>based on a guy named Jeff Doud, So they were

0:49:11.080 --> 0:49:13.880
<v Speaker 1>both based on two dudes in reality. And John Millius

0:49:13.960 --> 0:49:16.600
<v Speaker 1>is a there's a great documentary about him actually, but

0:49:16.640 --> 0:49:21.399
<v Speaker 1>he's the guy who wrote did he write Apocalypse? Now?

0:49:22.080 --> 0:49:24.719
<v Speaker 1>It's something to do? He wrote and directed Red Dawn.

0:49:25.400 --> 0:49:28.880
<v Speaker 1>He was very right wing, but very I mean he

0:49:28.960 --> 0:49:32.000
<v Speaker 1>was Walter Subjeck. You know. He would he was famous

0:49:32.000 --> 0:49:34.160
<v Speaker 1>for going into offices and like pulling a gun on

0:49:34.160 --> 0:49:37.360
<v Speaker 1>a studio exec and he would wear those aviator like

0:49:37.400 --> 0:49:41.160
<v Speaker 1>shooter glasses and touch of Phil Specter in there. Yeah. Yeah,

0:49:41.239 --> 0:49:45.960
<v Speaker 1>just a guy who's paranoid but like has does have

0:49:46.040 --> 0:49:49.280
<v Speaker 1>a big heart, but doesn't quite know how to express

0:49:49.360 --> 0:49:52.719
<v Speaker 1>himself and it comes out in rage. Um. Such an

0:49:52.760 --> 0:49:56.920
<v Speaker 1>interesting character. But something I say to every fellow Lebowskiite

0:49:57.200 --> 0:50:00.799
<v Speaker 1>is like, there's a little bit of their character in

0:50:00.960 --> 0:50:03.640
<v Speaker 1>you too. Like when I watched the movie, I'm like, yeah,

0:50:03.680 --> 0:50:06.680
<v Speaker 1>there's times where I'm irrational like Walter. There's times where

0:50:06.719 --> 0:50:09.799
<v Speaker 1>I'm like totally passive and like Donnie and like I'm

0:50:09.840 --> 0:50:14.080
<v Speaker 1>just like positive, but it's you're like why is he

0:50:14.160 --> 0:50:17.439
<v Speaker 1>so positive? And then sometimes you're like the dude where

0:50:17.440 --> 0:50:21.640
<v Speaker 1>you're like passive aggressive, where you're like this aggression will

0:50:21.680 --> 0:50:25.600
<v Speaker 1>not stand man. You're like you're like you know, you

0:50:25.680 --> 0:50:28.640
<v Speaker 1>just like don't you don't quite um know how to

0:50:28.680 --> 0:50:31.480
<v Speaker 1>express yourself or something. I don't know. Actually, I don't

0:50:31.480 --> 0:50:34.480
<v Speaker 1>know if I could ever relate to the night. That

0:50:34.520 --> 0:50:38.920
<v Speaker 1>could be a little nihilist sometimes, but and and Lincoln

0:50:38.920 --> 0:50:42.600
<v Speaker 1>Berry pancakes do sound good right now. One thing I

0:50:42.719 --> 0:50:44.839
<v Speaker 1>noticed last night that I've never noticed before, and I've

0:50:44.880 --> 0:50:47.640
<v Speaker 1>seen this movie quite a few times too, um, is

0:50:47.719 --> 0:50:52.840
<v Speaker 1>that dude, the dude has so many funny one liners.

0:50:53.600 --> 0:50:55.759
<v Speaker 1>He's as a person. If you just forget about you're

0:50:55.760 --> 0:50:58.880
<v Speaker 1>watching movie. Let's say you know this guy, he's fucking hysterical,

0:50:59.239 --> 0:51:01.640
<v Speaker 1>but no one ever laughs at him. He throws out

0:51:01.680 --> 0:51:05.560
<v Speaker 1>all these funny one liners, like genuinely, like clever wit,

0:51:06.360 --> 0:51:09.359
<v Speaker 1>and no one ever laughs at these jokes in the movie.

0:51:09.480 --> 0:51:11.839
<v Speaker 1>And the Last Night is like, that's kind of funny, man.

0:51:11.840 --> 0:51:14.319
<v Speaker 1>These are great lines. Oh, I mean the line where

0:51:14.360 --> 0:51:16.200
<v Speaker 1>clearly you're not a golfer, like, of course they're not

0:51:16.200 --> 0:51:19.320
<v Speaker 1>gonna laugh because of the situation, but at least some

0:51:19.480 --> 0:51:24.400
<v Speaker 1>house training. Of course you know you can. Also, that's

0:51:24.440 --> 0:51:26.359
<v Speaker 1>something I've noticed, like the second time I watched the movies.

0:51:26.360 --> 0:51:28.879
<v Speaker 1>He never calls anybody else dude. He always says man. Yeah,

0:51:29.200 --> 0:51:31.279
<v Speaker 1>I think he said man like two hundred times he says,

0:51:31.520 --> 0:51:33.400
<v Speaker 1>he says man, but he's the dude, so no one

0:51:33.440 --> 0:51:36.160
<v Speaker 1>else has ever dude. Yea, yeah, he says man. Yeah.

0:51:36.200 --> 0:51:38.640
<v Speaker 1>So that was something I noticed early on. But he

0:51:38.719 --> 0:51:40.440
<v Speaker 1>does have a lot of funny one liners. There's that

0:51:40.520 --> 0:51:43.680
<v Speaker 1>great line when they're you know, the classical music is

0:51:43.680 --> 0:51:46.120
<v Speaker 1>playing and Lebowski is at the fireplace and he's like,

0:51:46.360 --> 0:51:49.360
<v Speaker 1>what makes him man? Yeah? And he says, you know

0:51:49.400 --> 0:51:53.760
<v Speaker 1>that in the parataesticals exactly, and he just goes, perhaps,

0:51:53.840 --> 0:51:58.799
<v Speaker 1>you're right, he's great. Uh what's his name? Shout out

0:51:58.880 --> 0:52:02.200
<v Speaker 1>to David Huddleston and well, he is the Big Lebowski.

0:52:02.239 --> 0:52:03.840
<v Speaker 1>He's the Big Lebowski, which is funny. I think a

0:52:03.880 --> 0:52:06.879
<v Speaker 1>lot of people think that's the dude, but no, he's

0:52:06.960 --> 0:52:10.080
<v Speaker 1>he's the deadbeat Lebowski or or or is the dude

0:52:10.080 --> 0:52:16.320
<v Speaker 1>the big Lebowski you know, philosophically or is it him? Uh? Yeah,

0:52:16.440 --> 0:52:20.200
<v Speaker 1>I think that. I think at times the Big Lebowski, uh,

0:52:20.360 --> 0:52:23.400
<v Speaker 1>you know, the real Jeffrey Lebowski or the famous Jeffrey

0:52:23.480 --> 0:52:25.640
<v Speaker 1>Lebowski is the Big Lebowski. And then there's other time

0:52:25.640 --> 0:52:29.000
<v Speaker 1>when the other times when the dude really tries to

0:52:29.040 --> 0:52:31.920
<v Speaker 1>transcend himself and he's trying he's trying to be a

0:52:32.000 --> 0:52:34.800
<v Speaker 1>big he's trying to be a big person. Well, he

0:52:34.920 --> 0:52:38.120
<v Speaker 1>always The other thing I noticed too, is he's always

0:52:38.120 --> 0:52:40.759
<v Speaker 1>on the path to doing the right thing and he

0:52:40.840 --> 0:52:43.160
<v Speaker 1>has figured it out. Walter is the one that sucks

0:52:43.200 --> 0:52:47.640
<v Speaker 1>everything up constantly. You fucked it up. But but Jeff,

0:52:47.760 --> 0:52:50.600
<v Speaker 1>but the dude is is kind of way ahead. He's

0:52:50.719 --> 0:52:54.879
<v Speaker 1>he's one step ahead of everybody. Despite his stoner slackness,

0:52:55.280 --> 0:52:57.600
<v Speaker 1>he's kind of right the whole time. Yeah, especially when

0:52:57.600 --> 0:53:01.000
<v Speaker 1>he cracks. The whole case is just going on. He

0:53:01.080 --> 0:53:04.240
<v Speaker 1>does know what's going on, but he's just there's the idiot. Yeah,

0:53:04.280 --> 0:53:08.440
<v Speaker 1>Walter is an idiot, and uh, you know only hammered

0:53:08.520 --> 0:53:11.800
<v Speaker 1>him by everything that he tries to. You know, the

0:53:12.200 --> 0:53:15.279
<v Speaker 1>briefcase full of his undis just the whites. You know,

0:53:15.320 --> 0:53:18.560
<v Speaker 1>it's like the ring whole, the whole ring, your angle.

0:53:18.640 --> 0:53:21.239
<v Speaker 1>And then of course, like h you know, this is

0:53:21.280 --> 0:53:23.520
<v Speaker 1>what happens when you stranger in the ass and he's

0:53:23.640 --> 0:53:25.920
<v Speaker 1>yea with the kid with the with they're chasing that

0:53:26.080 --> 0:53:30.240
<v Speaker 1>kid down, and then there's the guy in the iron

0:53:31.360 --> 0:53:35.200
<v Speaker 1>iron lung, Oh my god, and that whole that whole

0:53:35.239 --> 0:53:39.120
<v Speaker 1>side story is so fascinating to me, and like that

0:53:39.200 --> 0:53:41.280
<v Speaker 1>movie in the movie is about an hour, it's almost

0:53:41.320 --> 0:53:44.759
<v Speaker 1>two hours long. So sometimes when I get into the

0:53:44.800 --> 0:53:47.880
<v Speaker 1>third act of the movie, especially when he's getting chased

0:53:47.880 --> 0:53:51.680
<v Speaker 1>by the scissors with the scissors, sometimes I feel like

0:53:52.239 --> 0:53:55.799
<v Speaker 1>I'm lost in the lost in the dream a little bit. Um.

0:53:55.840 --> 0:53:57.799
<v Speaker 1>It's kind of how I feel when I watch Inherent Vice.

0:53:58.120 --> 0:54:00.879
<v Speaker 1>Like I've watched Inherent Vice a couple of times now,

0:54:00.920 --> 0:54:03.279
<v Speaker 1>and I can't necessarily tell you anything about it because

0:54:03.280 --> 0:54:06.200
<v Speaker 1>it's so druggy. Yeah, and I feel like Paul Thomas

0:54:06.160 --> 0:54:07.719
<v Speaker 1>Anderson was trying to make you feel that, And I

0:54:07.760 --> 0:54:11.400
<v Speaker 1>feel like the Coen Brothers are like, you're you're getting

0:54:11.400 --> 0:54:13.920
<v Speaker 1>in the dudes headspace. Yeah, and they had never done

0:54:14.360 --> 0:54:17.800
<v Speaker 1>these weird fantasy sequences and stuff like they did with

0:54:18.120 --> 0:54:23.720
<v Speaker 1>uh gutter Balls, the dream sequence after he gets drugged

0:54:23.719 --> 0:54:27.120
<v Speaker 1>by Jackie Treehorn Jackie Treehorn and the great Kenny Roger

0:54:27.160 --> 0:54:29.319
<v Speaker 1>song of course, of course, but I didn't realize this.

0:54:29.360 --> 0:54:31.799
<v Speaker 1>I looked at the trivia that in that sequence is

0:54:32.200 --> 0:54:35.839
<v Speaker 1>when he's helping Maud bowl. Uh, that's the only time

0:54:36.040 --> 0:54:39.000
<v Speaker 1>you see the dude bowl actually, Oh yeah, he's always

0:54:39.000 --> 0:54:41.880
<v Speaker 1>sitting around you never actually see him throw a ball

0:54:42.719 --> 0:54:45.799
<v Speaker 1>down the lane, which I never noticed until I read

0:54:45.840 --> 0:54:48.200
<v Speaker 1>that this morning. It's like, holy shit, it's a movie

0:54:48.280 --> 0:54:50.480
<v Speaker 1>sort of about bowling. Yeah, there's tons of stuff like

0:54:50.520 --> 0:54:53.719
<v Speaker 1>that in the movie that, like, I mean, there's more

0:54:53.719 --> 0:54:58.160
<v Speaker 1>obvious things the more you watch it, like the whole Chinaman, Like, yeah,

0:54:58.600 --> 0:55:02.000
<v Speaker 1>there's the first chinaman and then Walter says you shouldn't

0:55:02.000 --> 0:55:04.560
<v Speaker 1>say that, but then he says it's not to prefer nomenclature.

0:55:04.760 --> 0:55:08.920
<v Speaker 1>But then Lebowski says, a chinaman took my legs in Vietnam,

0:55:09.520 --> 0:55:12.560
<v Speaker 1>and you're like, did why they Like that must have

0:55:12.600 --> 0:55:15.400
<v Speaker 1>been some inside joke because that went too far. Also

0:55:15.960 --> 0:55:18.880
<v Speaker 1>in that same sequence, um, when Philip Seymour Hoppin is

0:55:18.880 --> 0:55:21.279
<v Speaker 1>showing him around the place needs such a great scene,

0:55:21.320 --> 0:55:25.680
<v Speaker 1>he goes yes, yes, and then uh, but then Lebowski

0:55:25.719 --> 0:55:28.839
<v Speaker 1>says yes yes and the next scene so like they

0:55:28.920 --> 0:55:30.720
<v Speaker 1>like mirror each other. And I don't know, I wonder

0:55:30.800 --> 0:55:32.960
<v Speaker 1>if like the Coen Brothers were like cracking up over

0:55:33.040 --> 0:55:35.520
<v Speaker 1>like when people go yes, yes, I bet. I mean,

0:55:35.560 --> 0:55:38.839
<v Speaker 1>they're they're very famous for, uh, their movies being very

0:55:38.840 --> 0:55:43.000
<v Speaker 1>heavily scripted and like you don't improv they wrote every

0:55:43.080 --> 0:55:46.320
<v Speaker 1>yeah sure in Fargo, like it was all on the page.

0:55:46.400 --> 0:55:49.239
<v Speaker 1>Same with Lebowski. There's no there's no improvisation. They said.

0:55:49.239 --> 0:55:51.600
<v Speaker 1>The biggest or the closest they got to improvisation was

0:55:51.680 --> 0:55:55.080
<v Speaker 1>allowing John t Turo to just be that character because

0:55:55.080 --> 0:55:58.839
<v Speaker 1>that character was his character, Like like he I think

0:55:58.840 --> 0:56:01.480
<v Speaker 1>he like owns the copy right, He's making a movie

0:56:01.800 --> 0:56:05.080
<v Speaker 1>as Jesus. That's I heard that, um because it's his,

0:56:05.320 --> 0:56:09.440
<v Speaker 1>it's his thing. It feels like a non sequitur in

0:56:09.440 --> 0:56:12.759
<v Speaker 1>the grand scheme of the movie, but like, I'm so

0:56:12.800 --> 0:56:15.680
<v Speaker 1>glad that they included it, and that especially because you

0:56:15.680 --> 0:56:17.880
<v Speaker 1>don't realize that the song that's about to play as

0:56:17.880 --> 0:56:23.319
<v Speaker 1>Hotel California. And I feel like it gets me every

0:56:23.320 --> 0:56:25.560
<v Speaker 1>time too. It's like that beautiful like classical guitar comes

0:56:25.560 --> 0:56:28.000
<v Speaker 1>out comes in and you're like, ah, like this is

0:56:28.000 --> 0:56:30.040
<v Speaker 1>the perfect setup for the scene, and they're like, oh, yeah,

0:56:30.040 --> 0:56:35.480
<v Speaker 1>it's Hotel California, which also ties into the yeah well.

0:56:35.520 --> 0:56:39.000
<v Speaker 1>Another great part is the fucking cab driver is so

0:56:39.120 --> 0:56:44.200
<v Speaker 1>aggressive and angry that he wouldn't like like rips his

0:56:44.239 --> 0:56:46.440
<v Speaker 1>ass out of the cab. Is so funny, do you

0:56:46.480 --> 0:56:49.120
<v Speaker 1>know they do you know that piece of trivia. The Eagles,

0:56:49.160 --> 0:56:53.760
<v Speaker 1>the fucking Eagles part so uh. The Coen Brothers approached

0:56:53.760 --> 0:56:56.600
<v Speaker 1>the Rolling Stones about using Dead Flowers in the movie

0:56:56.800 --> 0:56:59.759
<v Speaker 1>Dead Flowers is in the closing crowd. They approached the

0:56:59.840 --> 0:57:02.640
<v Speaker 1>Rolling Stones manager, who was like the biggest hard ass

0:57:02.680 --> 0:57:05.440
<v Speaker 1>of all time, and he's like, give me half a

0:57:05.440 --> 0:57:07.759
<v Speaker 1>million dollars and I'll let you use dead Flowers in

0:57:07.760 --> 0:57:10.319
<v Speaker 1>the movie. And they're like, oh, well, let's just like

0:57:10.360 --> 0:57:12.319
<v Speaker 1>invite him over and we'll show him a rough cut

0:57:12.320 --> 0:57:15.160
<v Speaker 1>of the film. They show him a rough cut cut

0:57:15.160 --> 0:57:19.480
<v Speaker 1>of the film. The Eagles line happened and he burst

0:57:19.680 --> 0:57:22.080
<v Speaker 1>burst out loud laughing, And at the end of the

0:57:22.120 --> 0:57:23.840
<v Speaker 1>screening he goes up to me. It's like, you can

0:57:23.880 --> 0:57:27.520
<v Speaker 1>take the song for free, and he's like, us, but

0:57:27.560 --> 0:57:29.640
<v Speaker 1>you have to use a cover. He's like, he's like

0:57:29.880 --> 0:57:32.960
<v Speaker 1>that Eagles line. He's like, that's the truest thing in

0:57:33.000 --> 0:57:35.360
<v Speaker 1>the movie. Like he was just like that was amazing.

0:57:35.440 --> 0:57:37.680
<v Speaker 1>I think I saw where it was either. I think

0:57:37.680 --> 0:57:41.160
<v Speaker 1>it was Glenn Fry was a little salty about that.

0:57:41.800 --> 0:57:44.000
<v Speaker 1>I think the Eagles are a little salty. I mean

0:57:44.000 --> 0:57:50.040
<v Speaker 1>in the song a person steely Dan Nursery trivia in Hotel, California.

0:57:50.080 --> 0:57:52.440
<v Speaker 1>There's a lyric they can stab us with their steely knives,

0:57:52.480 --> 0:57:55.280
<v Speaker 1>but they just can't kill. It's a reference to the

0:57:55.360 --> 0:57:57.720
<v Speaker 1>Steely Dan record that came out a year before. There's

0:57:57.760 --> 0:58:01.600
<v Speaker 1>a there's a derogatory line about the Eagles, so they're yeah,

0:58:01.680 --> 0:58:04.240
<v Speaker 1>they're they're a little defensive. Well, yeah, Don Henley sort

0:58:04.280 --> 0:58:07.360
<v Speaker 1>of a well known tick. Yeah, I know, let's get

0:58:07.400 --> 0:58:09.760
<v Speaker 1>into it. Yeah, well, I know where heard it was

0:58:09.800 --> 0:58:13.600
<v Speaker 1>Jeff Bridges interviewed and he knew Glenn Fry and he

0:58:13.680 --> 0:58:16.439
<v Speaker 1>said that he always kind of gave him a hard time,

0:58:16.440 --> 0:58:17.880
<v Speaker 1>and you could tell it sort of bugged him a

0:58:17.920 --> 0:58:20.720
<v Speaker 1>little bit, like he didn't want to appear as though

0:58:20.760 --> 0:58:23.200
<v Speaker 1>he was taking it too seriously. But he was like, yeah,

0:58:23.320 --> 0:58:26.480
<v Speaker 1>he kinda. He kind of didn't love that, you know what.

0:58:26.800 --> 0:58:30.560
<v Speaker 1>I look, I have a problem with humorist people. So yeah,

0:58:30.760 --> 0:58:32.640
<v Speaker 1>if you can't have a sense if if that line

0:58:32.680 --> 0:58:37.160
<v Speaker 1>was like fucking doctor dog, I would be like honored, Yeah,

0:58:37.240 --> 0:58:41.120
<v Speaker 1>for sure, for sure. Uh. And of course, making Jesus

0:58:41.080 --> 0:58:43.680
<v Speaker 1>say a pedophile was such a weird Cohen Brothers thing

0:58:43.720 --> 0:58:48.400
<v Speaker 1>to do. Yeah, peders, there's no reason to whatsoever, But

0:58:48.480 --> 0:58:51.960
<v Speaker 1>you get that funny as Hell's shot of him knocking

0:58:52.000 --> 0:58:54.520
<v Speaker 1>on the door and that big dude just comes and

0:58:54.520 --> 0:58:57.080
<v Speaker 1>it's such a Cohen Brother's cut to like not show

0:58:57.080 --> 0:59:00.200
<v Speaker 1>what happens, Oh, you just show that uncomfortable moment he's

0:59:00.200 --> 0:59:05.200
<v Speaker 1>wearing those horrible short like those daisy dudes. Like, oh

0:59:05.280 --> 0:59:08.280
<v Speaker 1>my god, that scene is so real. Apparently he stuffed

0:59:08.320 --> 0:59:11.640
<v Speaker 1>his his crutch with a bag of bird seed for

0:59:11.840 --> 0:59:18.000
<v Speaker 1>that for that shot. That's such a good thing to learn. Yeah, yeah,

0:59:18.400 --> 0:59:21.640
<v Speaker 1>I can't wait to tell everyone that that's amazing. Uh.

0:59:21.720 --> 0:59:24.960
<v Speaker 1>Julianne Moore and David Sulis. One of the funniest scenes

0:59:25.000 --> 0:59:28.720
<v Speaker 1>in her entrance, that crazy entrance when she goes flying

0:59:28.760 --> 0:59:35.280
<v Speaker 1>through the air with that Banshee screen painting. Uh yeah,

0:59:35.680 --> 0:59:38.960
<v Speaker 1>they put on log jam and then of course with

0:59:39.000 --> 0:59:45.840
<v Speaker 1>Dina Cobbosa Cobbol and then there's like that Kraftwerk reference

0:59:46.040 --> 0:59:49.400
<v Speaker 1>that the base the band's called auto bottom one. Uh. Well,

0:59:49.440 --> 0:59:53.280
<v Speaker 1>that's another funny line though, speaking of his clever one liners,

0:59:53.680 --> 0:59:55.720
<v Speaker 1>when she says, you know, you can imagine what happened

0:59:55.720 --> 0:59:58.720
<v Speaker 1>after that and he goes he fixes her cable and

0:59:58.800 --> 1:00:03.520
<v Speaker 1>like no one laughs, and man, that's hysterical. Yeah, it's

1:00:03.520 --> 1:00:06.959
<v Speaker 1>a good he's a good man. Yeah, and then there's

1:00:06.960 --> 1:00:11.720
<v Speaker 1>that whole ridiculous conversation happening, the phone conversation where he's

1:00:11.760 --> 1:00:14.680
<v Speaker 1>just like, yeah, you're speaking in a different language in

1:00:14.680 --> 1:00:17.160
<v Speaker 1>front of me, you know, Like he's always left out

1:00:17.200 --> 1:00:20.560
<v Speaker 1>in some way. Yeah, and he's always being forced to

1:00:20.600 --> 1:00:22.840
<v Speaker 1>just be like it's it's almost like an old Bunuel

1:00:22.880 --> 1:00:27.320
<v Speaker 1>film where you're, um, yeah. The song the band song

1:00:27.360 --> 1:00:30.120
<v Speaker 1>the Weight is actually based on a Bunuel film, and

1:00:30.240 --> 1:00:33.960
<v Speaker 1>the common trope in Bunuel films was like you're like,

1:00:34.320 --> 1:00:36.800
<v Speaker 1>you're just trying to do your best and people just

1:00:36.960 --> 1:00:40.520
<v Speaker 1>keep putting weights on your back, you know. And I

1:00:40.560 --> 1:00:42.360
<v Speaker 1>think about the dude in that way a lot, where

1:00:42.360 --> 1:00:44.440
<v Speaker 1>it's just like, man, this guy just can't get a break.

1:00:44.480 --> 1:00:48.880
<v Speaker 1>But like it's a it's a testament to his dudeness. Yeah,

1:00:49.120 --> 1:00:52.240
<v Speaker 1>you're being very undoe. Yeah, you kind of wonder what

1:00:52.600 --> 1:00:55.200
<v Speaker 1>his I mean, this is a week in the guy's life,

1:00:55.880 --> 1:00:57.360
<v Speaker 1>and you kind of wonder what the rest of his

1:00:57.440 --> 1:00:59.640
<v Speaker 1>life is usually like, because you get the picture that

1:00:59.720 --> 1:01:02.480
<v Speaker 1>nothing ever happens to him and he's all caught up

1:01:02.520 --> 1:01:05.120
<v Speaker 1>in this thing and his poor car is just getting

1:01:05.160 --> 1:01:07.160
<v Speaker 1>abuse to the whole movie that piece of ship car.

1:01:07.400 --> 1:01:09.720
<v Speaker 1>You know, we gotta we go to the line. We've

1:01:09.720 --> 1:01:11.880
<v Speaker 1>got a team of people working night and day. They're

1:01:11.880 --> 1:01:19.280
<v Speaker 1>working in shifts, so you got any leads leads. But yeah,

1:01:19.320 --> 1:01:21.880
<v Speaker 1>there's that aspect to it, and there's also the there's

1:01:21.920 --> 1:01:23.960
<v Speaker 1>the part of it. There's like he is a dead beat.

1:01:24.040 --> 1:01:26.200
<v Speaker 1>I mean, he's not paying rent on time, he's writing

1:01:26.200 --> 1:01:30.040
<v Speaker 1>a check for for landlord's you know, he's he's writing

1:01:30.040 --> 1:01:33.120
<v Speaker 1>these checks for under a dollar so you can make

1:01:33.160 --> 1:01:36.960
<v Speaker 1>white Russians. You know. It's like his life doesn't seem

1:01:37.080 --> 1:01:40.760
<v Speaker 1>that remarkable. And he also he's also laziest, which would

1:01:40.760 --> 1:01:44.320
<v Speaker 1>put him in the running for laziest worldwide. Yeah, well,

1:01:44.360 --> 1:01:47.680
<v Speaker 1>and he's a very Um you haven't lived in l A,

1:01:47.760 --> 1:01:50.320
<v Speaker 1>have you? I will. I don't think I could ever

1:01:50.400 --> 1:01:52.120
<v Speaker 1>live in l A. But do you feel like you

1:01:52.160 --> 1:01:54.360
<v Speaker 1>know l A? Oh? I know. We were just recorded

1:01:54.360 --> 1:01:56.640
<v Speaker 1>our new record there, so yes, I do. It's uh,

1:01:56.760 --> 1:01:58.880
<v Speaker 1>I lived there for like five years and I lived,

1:01:59.440 --> 1:02:01.560
<v Speaker 1>like I said, on the street from Lebowski Lanes in

1:02:01.600 --> 1:02:04.280
<v Speaker 1>a little apartment kind of like that. And there that

1:02:04.360 --> 1:02:07.640
<v Speaker 1>character is a very l a kind of guy, like

1:02:07.720 --> 1:02:11.560
<v Speaker 1>these dudes that uh just burn out in the sixties

1:02:11.680 --> 1:02:15.280
<v Speaker 1>and stayed there, paying five hundred bucks a month in rent,

1:02:16.680 --> 1:02:19.440
<v Speaker 1>wearing his housecoat to Ralph's Like I saw those people.

1:02:19.520 --> 1:02:21.360
<v Speaker 1>Oh I bet you did, especially if you were you

1:02:21.400 --> 1:02:24.520
<v Speaker 1>were living there in the late nineties early yea. So

1:02:24.560 --> 1:02:27.000
<v Speaker 1>now I mean now l A is like, yeah, it's

1:02:27.000 --> 1:02:30.080
<v Speaker 1>a little shiny man. Yeah. For the listeners, I'm like

1:02:30.240 --> 1:02:33.440
<v Speaker 1>pretending to boat talks my face right now. Um there.

1:02:33.480 --> 1:02:35.360
<v Speaker 1>So there's that aspect of l A. Then there's also

1:02:35.480 --> 1:02:40.439
<v Speaker 1>like the the health nuts of l A. Um, but yeah,

1:02:40.640 --> 1:02:44.120
<v Speaker 1>that old bohemian like, yeah, man, I moved out here,

1:02:44.200 --> 1:02:46.600
<v Speaker 1>actually moved up to Frisco for the dead and that

1:02:47.120 --> 1:02:49.200
<v Speaker 1>we've never seen kind of driving up, moved down to

1:02:49.360 --> 1:02:51.880
<v Speaker 1>l A. And absolutely, man, they're those dudes are out there.

1:02:52.000 --> 1:02:56.200
<v Speaker 1>Yeah they're fried. Yeah, I call I call it sunburnt brain. Yeah,

1:02:56.240 --> 1:02:58.160
<v Speaker 1>the l A like the old l A dude brain.

1:02:58.280 --> 1:03:01.919
<v Speaker 1>It's like you're just you're you're mind is soaked by sunlight. Yeah,

1:03:01.920 --> 1:03:05.480
<v Speaker 1>and too much melatonin. Too much melatonin. Good for a bit.

1:03:05.720 --> 1:03:09.640
<v Speaker 1>But yeah, but I'm an East coaster, so I'm in

1:03:09.760 --> 1:03:11.520
<v Speaker 1>l A. I'm like, you know, I always see the

1:03:11.560 --> 1:03:14.360
<v Speaker 1>difference between East Coast and West coast people was like

1:03:14.400 --> 1:03:16.320
<v Speaker 1>and on the East Coast, if I ever said like, hey,

1:03:16.400 --> 1:03:18.640
<v Speaker 1>I really think I should go to therapy and be

1:03:18.720 --> 1:03:20.000
<v Speaker 1>like what the fuck is wrong with you? Why are

1:03:20.000 --> 1:03:21.920
<v Speaker 1>you going to therapy? And then I'm like I'm going

1:03:21.960 --> 1:03:24.440
<v Speaker 1>to therapy, Like that's just so great. Yeah, you just

1:03:24.480 --> 1:03:27.000
<v Speaker 1>do that, right, you just be you just do that,

1:03:27.360 --> 1:03:29.400
<v Speaker 1>Like your dog goes to therapy in l A. Your

1:03:29.440 --> 1:03:33.400
<v Speaker 1>dog gets your cat gets massages in l A. It's

1:03:33.440 --> 1:03:36.440
<v Speaker 1>such a weird place and it's so not real and

1:03:36.480 --> 1:03:39.280
<v Speaker 1>it is weird out there now, like Hollywood is. It's

1:03:39.280 --> 1:03:41.520
<v Speaker 1>not like I want everything to remain a piece of ship,

1:03:42.040 --> 1:03:45.560
<v Speaker 1>Like I'm all for cleaning things up, but it's weird

1:03:45.600 --> 1:03:48.320
<v Speaker 1>at being in Hollywood now, Well there isn't. There is

1:03:48.360 --> 1:03:51.400
<v Speaker 1>like a mad Max vibe happening in l A. Now

1:03:51.440 --> 1:03:54.400
<v Speaker 1>that's a little like a tense city. There's like a

1:03:54.440 --> 1:03:57.720
<v Speaker 1>sub city to l A that's like just people on

1:03:57.760 --> 1:04:01.000
<v Speaker 1>the streets. Yeah, it's very it's weird that it's weird.

1:04:01.080 --> 1:04:04.320
<v Speaker 1>It's very like post apocalyptic and and it just goes

1:04:04.360 --> 1:04:07.640
<v Speaker 1>to show you like the infrastructure, they're like the money

1:04:07.760 --> 1:04:09.640
<v Speaker 1>is not going to the right places. You know, it's

1:04:09.640 --> 1:04:12.840
<v Speaker 1>like them you have like this immaculate Church of scientology,

1:04:12.880 --> 1:04:14.840
<v Speaker 1>and then you have like these tent people you know,

1:04:14.880 --> 1:04:17.120
<v Speaker 1>and like there should be more of an effort to

1:04:17.120 --> 1:04:20.000
<v Speaker 1>to help. Yeah, I don't know if there is. It's

1:04:20.120 --> 1:04:24.920
<v Speaker 1>it's l a, it's a weird place. It's brutal. Um,

1:04:25.000 --> 1:04:27.640
<v Speaker 1>we should talk really quickly about the Chief of Police

1:04:27.640 --> 1:04:31.800
<v Speaker 1>of Malibu scene. One of the great scenes because at

1:04:31.800 --> 1:04:33.480
<v Speaker 1>one point it's someone like the dude would have been

1:04:33.480 --> 1:04:36.360
<v Speaker 1>welcome in Malibu, like in the sixties probably definitely, but

1:04:36.400 --> 1:04:38.760
<v Speaker 1>now it's you knows, out of my beach community, out

1:04:38.760 --> 1:04:43.400
<v Speaker 1>of my beach community. He's so aggressive and angry. Oh man,

1:04:43.520 --> 1:04:47.320
<v Speaker 1>when he when he whacks them, it's like, oh, it's

1:04:47.520 --> 1:04:50.840
<v Speaker 1>so good again. It's it's totally boone. Well, it's totally

1:04:50.880 --> 1:04:54.600
<v Speaker 1>like the Coen Brothers referencing this like classic filmmaking, but

1:04:54.680 --> 1:04:58.320
<v Speaker 1>through the lens of like slapstick. But you do feel

1:04:58.360 --> 1:05:01.120
<v Speaker 1>for Himulre like he's only four of identification is a

1:05:01.200 --> 1:05:06.240
<v Speaker 1>Ralph's card. He's got no idea this guy's and that's

1:05:06.280 --> 1:05:11.800
<v Speaker 1>always been good enough. Um yeah, yeah, yes, that that

1:05:11.920 --> 1:05:14.840
<v Speaker 1>scene is unbelievable. He's already been through so much he

1:05:14.960 --> 1:05:16.960
<v Speaker 1>thinks he's figured it out. He's in the Belly of

1:05:17.000 --> 1:05:20.080
<v Speaker 1>the Beast, you know he's at the house and then

1:05:22.560 --> 1:05:30.040
<v Speaker 1>going over to the post it pad Jackie coll Like,

1:05:30.800 --> 1:05:33.760
<v Speaker 1>how did they do that? What were they thinking? How

1:05:33.800 --> 1:05:36.520
<v Speaker 1>could they think on that level? It's perfect. He's like,

1:05:36.680 --> 1:05:41.600
<v Speaker 1>I'm gonna bust the crime now. Oh what And the

1:05:41.640 --> 1:05:43.840
<v Speaker 1>only time you see him move quickly in the movie too,

1:05:44.200 --> 1:05:47.400
<v Speaker 1>and he like runs back over and sits down. Oh

1:05:47.440 --> 1:05:50.439
<v Speaker 1>it's such a funny juxtaposition to his usual gait. It's

1:05:50.560 --> 1:05:53.760
<v Speaker 1>it's brilliant. Um Man, there's so many, so many sections

1:05:53.800 --> 1:05:55.640
<v Speaker 1>of the movie I want to get a handle on.

1:05:55.720 --> 1:05:57.920
<v Speaker 1>I mean the fact that his landlord is doing a

1:05:58.000 --> 1:06:01.440
<v Speaker 1>cycle and and it's Strivine key, Yeah, I saw. I'm

1:06:01.440 --> 1:06:04.520
<v Speaker 1>a composer, um when I'm not playing drums, I like,

1:06:04.640 --> 1:06:09.160
<v Speaker 1>right for I just for a string quartet. So that

1:06:09.240 --> 1:06:11.880
<v Speaker 1>scene like got me, like the first time I said,

1:06:11.920 --> 1:06:15.800
<v Speaker 1>I'm like, there's no way they're referencing Stravinsky right now, Like,

1:06:15.880 --> 1:06:19.360
<v Speaker 1>there's no way. How is how are they getting away

1:06:19.360 --> 1:06:22.160
<v Speaker 1>with this? Like, uh, you know, the music in that

1:06:22.200 --> 1:06:25.040
<v Speaker 1>movie is already incredible. I mean opening with man in me.

1:06:25.640 --> 1:06:29.040
<v Speaker 1>Tebon Burnett's music supervisional on the movie is like it's

1:06:29.120 --> 1:06:32.320
<v Speaker 1>very soundtrack heavy for Cohen's it's soundtrack heavy, but it

1:06:32.360 --> 1:06:35.880
<v Speaker 1>never it always feels an integral to what's happening. In

1:06:35.920 --> 1:06:37.560
<v Speaker 1>the fact they used The Man in Me as like

1:06:37.600 --> 1:06:40.960
<v Speaker 1>the theme for the movie, such a great music cue,

1:06:41.040 --> 1:06:43.120
<v Speaker 1>oh my God, it's so good. And but then you

1:06:43.160 --> 1:06:44.760
<v Speaker 1>have like you have the Man in Me and then

1:06:44.760 --> 1:06:49.160
<v Speaker 1>you have this like you know, forgotten about Kenny Rogers,

1:06:49.440 --> 1:06:51.880
<v Speaker 1>but for by people don't even know that that's Kenny

1:06:51.960 --> 1:06:54.760
<v Speaker 1>Rogers song. You know, like he does this song live now.

1:06:55.400 --> 1:06:56.800
<v Speaker 1>I bet he does. I don't. I don't know if

1:06:56.840 --> 1:06:58.760
<v Speaker 1>he took it back out, but I get the feeling

1:06:58.760 --> 1:07:00.880
<v Speaker 1>he probably did that he does. I mean, it's such

1:07:00.880 --> 1:07:02.760
<v Speaker 1>an outlier for him, becau when you think Penny Rodgers,

1:07:02.800 --> 1:07:07.000
<v Speaker 1>you're like, oh, chicken then right right, a general like well,

1:07:07.240 --> 1:07:10.000
<v Speaker 1>Kerry Rogers, it's like an icon. But he wrote this

1:07:10.040 --> 1:07:15.080
<v Speaker 1>great psychedelic song. Um but the Stravinsky que like when

1:07:15.080 --> 1:07:18.240
<v Speaker 1>he's on top of the chair and there's and there's

1:07:18.320 --> 1:07:21.560
<v Speaker 1>like there's like four people there. That's such an l

1:07:21.600 --> 1:07:25.640
<v Speaker 1>a thing to to well. And the dude is so

1:07:25.680 --> 1:07:28.160
<v Speaker 1>sweet when he asked him, you know about the ranch

1:07:28.240 --> 1:07:29.720
<v Speaker 1>or whatever, and he says, you know, I get the

1:07:29.720 --> 1:07:32.120
<v Speaker 1>performance or whatever. And he's such a sweetheart. He goes,

1:07:32.160 --> 1:07:34.600
<v Speaker 1>I'll be there, man, and he's there, and he's there.

1:07:34.680 --> 1:07:37.320
<v Speaker 1>He showed up. Yeah you know, aren't they talking about

1:07:37.320 --> 1:07:39.360
<v Speaker 1>burgers in that scene too, like let's do let's go

1:07:39.360 --> 1:07:41.560
<v Speaker 1>get a burger or let's go or yeah, I think so.

1:07:43.080 --> 1:07:45.320
<v Speaker 1>And he's a good guy. He's a good guy. He

1:07:45.880 --> 1:07:52.040
<v Speaker 1>just wanted that rug. He just really just wanted that rug. Um. Yeah,

1:07:52.040 --> 1:07:54.280
<v Speaker 1>all right, what else you got for me? Well, I'm

1:07:54.280 --> 1:07:56.880
<v Speaker 1>looking to see what else we should cover, of course,

1:07:57.160 --> 1:08:00.840
<v Speaker 1>have log jam in on here. Oh well, some of

1:08:00.880 --> 1:08:03.760
<v Speaker 1>my favorite lines, hell, I can get your toe by

1:08:03.800 --> 1:08:06.880
<v Speaker 1>three o'clock this afternoon with nail polish when they're talking

1:08:06.920 --> 1:08:09.560
<v Speaker 1>about in the diner with the toe that I have

1:08:09.680 --> 1:08:14.440
<v Speaker 1>completely Oh yeah, I can get you to by three

1:08:17.240 --> 1:08:20.439
<v Speaker 1>like to do that was the the evidence, like, no, man,

1:08:20.479 --> 1:08:24.880
<v Speaker 1>there was a toe and while just like, yeah, oh

1:08:24.960 --> 1:08:26.880
<v Speaker 1>my god, that is a funny line. But that's what

1:08:27.080 --> 1:08:30.280
<v Speaker 1>you know, you um, you you. I've seen this movie

1:08:30.320 --> 1:08:32.679
<v Speaker 1>so many times now and there's always a line that

1:08:32.720 --> 1:08:36.400
<v Speaker 1>gets me. Last night, the line that got me was

1:08:36.439 --> 1:08:39.080
<v Speaker 1>the aggression will not stand because because you see the

1:08:39.160 --> 1:08:41.080
<v Speaker 1>beginning of the movie and there's George Bush on the

1:08:41.120 --> 1:08:44.600
<v Speaker 1>TV says this aggression against Kuwait will not stand. And

1:08:44.680 --> 1:08:47.760
<v Speaker 1>so it's like the dude will often repeat things that

1:08:47.800 --> 1:08:52.479
<v Speaker 1>he's heard later. Um, he does it again later in

1:08:52.520 --> 1:08:55.879
<v Speaker 1>the movie when they're in a limo and he's like, uh,

1:08:56.439 --> 1:09:01.320
<v Speaker 1>she's a trophy wife, you know, like he he he

1:09:01.320 --> 1:09:03.680
<v Speaker 1>heard somebody else say that and is now using it

1:09:03.720 --> 1:09:08.200
<v Speaker 1>as his statement. He does that a lot. And I

1:09:08.240 --> 1:09:10.920
<v Speaker 1>love that little detail because he's like he is still

1:09:11.000 --> 1:09:13.479
<v Speaker 1>kind of aloof and like he does he's like still

1:09:13.520 --> 1:09:15.920
<v Speaker 1>like I don't know what who I am. So like

1:09:16.320 --> 1:09:18.759
<v Speaker 1>he hears these things and then uses them, like tries

1:09:18.800 --> 1:09:21.719
<v Speaker 1>to confidently use them, but in the limo it's not working,

1:09:22.040 --> 1:09:23.880
<v Speaker 1>and he's just stumbling through the whole scene. He says

1:09:23.920 --> 1:09:27.479
<v Speaker 1>trophy wife in the parlance of our time, well, which

1:09:27.560 --> 1:09:30.560
<v Speaker 1>is another line that Walter used. Walter, he steals it

1:09:30.600 --> 1:09:33.360
<v Speaker 1>from Walter and the parlance of our time. It's so funny.

1:09:33.400 --> 1:09:35.439
<v Speaker 1>I didn't really notice that. Yeah, he repeats a lot

1:09:35.479 --> 1:09:39.639
<v Speaker 1>of things that he's heard, and Uh, it's it's great.

1:09:40.040 --> 1:09:42.519
<v Speaker 1>It's a it's a subtle detail. Yeah. Well, and that's

1:09:42.520 --> 1:09:46.920
<v Speaker 1>so Cohen's too. They're so precise, like there are no accidents,

1:09:47.080 --> 1:09:50.960
<v Speaker 1>no accident in their movies. No. The only line I

1:09:51.040 --> 1:09:54.040
<v Speaker 1>read that was literally the only line that was improvised

1:09:54.040 --> 1:10:01.080
<v Speaker 1>that they allowed was human paraquat human paraquat, which I

1:10:01.080 --> 1:10:02.640
<v Speaker 1>hadn't even looked up. I didn't even know what it was.

1:10:02.680 --> 1:10:08.639
<v Speaker 1>That paraquat was a was an herbicide that was used

1:10:08.680 --> 1:10:11.639
<v Speaker 1>to spray like marijuana fields. Very controversially that was banned

1:10:11.640 --> 1:10:16.360
<v Speaker 1>and outlawed. Human baraquad is such a funny thing. I

1:10:16.400 --> 1:10:18.840
<v Speaker 1>want to say something about Lebowski and the Coen Brothers

1:10:18.880 --> 1:10:21.439
<v Speaker 1>in in general that like I kind of feel as

1:10:21.479 --> 1:10:24.000
<v Speaker 1>a lost art and you're you're you're mentioning this to me,

1:10:24.040 --> 1:10:26.120
<v Speaker 1>and I feel like Paul Thomas interesting is sort of

1:10:26.160 --> 1:10:29.280
<v Speaker 1>like the next generation of this, but like just deep

1:10:29.400 --> 1:10:33.360
<v Speaker 1>references like a movie, like a movie becomes infinite jest

1:10:33.520 --> 1:10:37.479
<v Speaker 1>or something like I love I love stuff like that

1:10:37.520 --> 1:10:40.400
<v Speaker 1>where you're like, um, you're just digging, You're like what's

1:10:40.840 --> 1:10:43.600
<v Speaker 1>now You're like, what's a paraquat and how does that

1:10:43.640 --> 1:10:47.400
<v Speaker 1>relate to it? Or like uh, you know, or even

1:10:47.400 --> 1:10:49.160
<v Speaker 1>in like Kids in the Whole Brain Candy, like the

1:10:49.320 --> 1:10:53.240
<v Speaker 1>polidamide reference. Yeah, there's a certain innocence to that sense

1:10:53.280 --> 1:10:56.280
<v Speaker 1>of humor. Uh and and it's brilliant but like it

1:10:56.320 --> 1:10:58.920
<v Speaker 1>reminds me of like Jack Handy's writing for SNL, like

1:10:59.160 --> 1:11:02.040
<v Speaker 1>the golden era of SNL. And there's all these deep

1:11:02.439 --> 1:11:06.360
<v Speaker 1>references like low Thor of the Hill people. You're like

1:11:06.720 --> 1:11:08.439
<v Speaker 1>and then you're like you find yourself like going back

1:11:08.479 --> 1:11:12.639
<v Speaker 1>You're like unfrozen caveman lawyer, you know, like this stuff

1:11:12.680 --> 1:11:14.760
<v Speaker 1>like that where you're like, what is this based off of?

1:11:14.800 --> 1:11:17.719
<v Speaker 1>Like what how if I'm gonna like go back in time?

1:11:17.760 --> 1:11:19.880
<v Speaker 1>Like how do I connect the dots? And the Cohen

1:11:19.920 --> 1:11:23.640
<v Speaker 1>Brothers are like masters of that um and they're in

1:11:23.920 --> 1:11:28.120
<v Speaker 1>uh oh, the if you Will It is No Dream?

1:11:28.160 --> 1:11:32.439
<v Speaker 1>The line that Walter walks in. Uh, he's like Theodore Hurtzel,

1:11:33.000 --> 1:11:36.799
<v Speaker 1>the is the Israeli Leader. You're like, I have found

1:11:36.800 --> 1:11:40.840
<v Speaker 1>myself Wikipedia and Hurtzel about that line if you Will

1:11:40.960 --> 1:11:43.599
<v Speaker 1>it Is No Dream? And then Cohen brothers are Jewish.

1:11:43.760 --> 1:11:46.360
<v Speaker 1>I'm like, I'm wondering, like is that something that? Is

1:11:46.360 --> 1:11:49.600
<v Speaker 1>that a quote that they liked? Why does Walter say that?

1:11:49.600 --> 1:11:52.960
<v Speaker 1>And then you're like, oh, Walter has become Jewish. He

1:11:53.040 --> 1:11:55.760
<v Speaker 1>probably studied up. He's he's like studying up and he's

1:11:55.800 --> 1:11:57.880
<v Speaker 1>like trying. He's like trying his best to be like

1:11:57.920 --> 1:12:01.720
<v Speaker 1>I'm practicing shamashabas, like I don't I don't roll. I

1:12:01.800 --> 1:12:07.519
<v Speaker 1>sure as ship don't roll. You know. It's like it's uh,

1:12:08.360 --> 1:12:10.439
<v Speaker 1>I just love that. And of course, like there's a

1:12:10.520 --> 1:12:14.000
<v Speaker 1>theme of Jewish culture throughout all the Cohen Brothers movies

1:12:14.080 --> 1:12:18.720
<v Speaker 1>like Barton fink Um this sort of like, uh, the

1:12:18.720 --> 1:12:21.840
<v Speaker 1>the insecurities and the anxiety. I'm I'm also Jewish, so

1:12:21.840 --> 1:12:24.160
<v Speaker 1>I can totally like certainly a simple man, Oh I

1:12:24.200 --> 1:12:26.000
<v Speaker 1>got a simple Man's Like that's the whole movie. The

1:12:26.040 --> 1:12:29.240
<v Speaker 1>whole movie is like these the anxiety, the post Holocaust

1:12:29.320 --> 1:12:32.200
<v Speaker 1>anxiety of being Jewish, Like I see these themes running

1:12:32.200 --> 1:12:34.519
<v Speaker 1>throughout the homes and even like it's in The Big Lebowski,

1:12:34.560 --> 1:12:37.000
<v Speaker 1>which like for some people is just like a frat

1:12:37.080 --> 1:12:41.200
<v Speaker 1>guy movie, Yeah, which is a it sells it so short,

1:12:41.400 --> 1:12:43.880
<v Speaker 1>it sells it so short, and I and I do

1:12:44.080 --> 1:12:47.720
<v Speaker 1>it bums me out that it has acquired that sort

1:12:47.720 --> 1:12:51.880
<v Speaker 1>of superficial like call like dorm room. There's a lot

1:12:51.880 --> 1:12:54.040
<v Speaker 1>more going on there. There's so much going on the movie.

1:12:54.080 --> 1:12:57.080
<v Speaker 1>The movie is a work of art. I fully believe

1:12:57.120 --> 1:12:59.840
<v Speaker 1>it's one of their masterpieces. And like again, you could

1:13:00.120 --> 1:13:04.439
<v Speaker 1>books and books upon on, like the minutia that movie,

1:13:04.800 --> 1:13:06.840
<v Speaker 1>and people have done it, and people have done it.

1:13:14.479 --> 1:13:16.400
<v Speaker 1>I finish up here. I mean we could do this

1:13:16.439 --> 1:13:19.240
<v Speaker 1>for three hours. I feel like I finish up here

1:13:19.560 --> 1:13:22.519
<v Speaker 1>with a couple of segments, one called what Ebert said

1:13:22.960 --> 1:13:25.880
<v Speaker 1>and then five questions and uh, I always like to

1:13:25.880 --> 1:13:28.200
<v Speaker 1>go back and see what Roger Ebert thought about these films.

1:13:29.880 --> 1:13:36.040
<v Speaker 1>This movie is a complete disappointment. And he loved Lebowski.

1:13:36.760 --> 1:13:39.960
<v Speaker 1>He gave it four stars and said The Big Lebowski

1:13:40.120 --> 1:13:43.120
<v Speaker 1>is about an attitude, not a story. It's easy to

1:13:43.160 --> 1:13:46.160
<v Speaker 1>miss that because the story is so urgently pursued. This

1:13:46.280 --> 1:13:50.040
<v Speaker 1>is a plot and dialogue that perhaps only the Cohen

1:13:50.080 --> 1:13:53.000
<v Speaker 1>brothers could have devised. I'm thinking less of their clarity

1:13:53.040 --> 1:13:56.000
<v Speaker 1>and Fargo and No Country for Old Men than of

1:13:56.080 --> 1:14:00.280
<v Speaker 1>almost hallucinatary logic of raising Arizona and the Hudsucker Proxy.

1:14:00.439 --> 1:14:03.000
<v Speaker 1>Only a steady hand in the midst of madness allows

1:14:03.040 --> 1:14:05.759
<v Speaker 1>them to hold it together. That and the delirious richness

1:14:05.800 --> 1:14:09.920
<v Speaker 1>of their visual approach. Beautiful, Yeah, very cool. Thank you

1:14:10.040 --> 1:14:13.000
<v Speaker 1>Roger for believing in this movie. It's always disappointing when

1:14:13.000 --> 1:14:16.120
<v Speaker 1>he hates the movie that this movie was was a

1:14:16.160 --> 1:14:19.880
<v Speaker 1>pretty big commercial clunker for them, right, Like it wasn't

1:14:20.240 --> 1:14:23.000
<v Speaker 1>I just didn't really do it didn't do Fargo numbers

1:14:23.040 --> 1:14:26.960
<v Speaker 1>and it did definitely didn't do uh uh. The next movie,

1:14:27.240 --> 1:14:29.799
<v Speaker 1>Brother or Brother didn't do a Brother numbers at all.

1:14:29.840 --> 1:14:33.000
<v Speaker 1>You know those are like claimed, Yeah, it's it's lived

1:14:33.040 --> 1:14:36.680
<v Speaker 1>on more than any other films probably do it do

1:14:36.720 --> 1:14:40.080
<v Speaker 1>I I've I've gotten so deep with Lebaska. I'm like,

1:14:40.120 --> 1:14:41.760
<v Speaker 1>you know, it's kind of like my it's kind of

1:14:41.800 --> 1:14:45.240
<v Speaker 1>like doctor Dog, Like yeah, it's like underappreciated when it

1:14:45.280 --> 1:14:48.200
<v Speaker 1>came out, and then it's just like the Slow Bill, right,

1:14:48.320 --> 1:14:50.519
<v Speaker 1>you know, like DSKI is just like a slow Bill.

1:14:52.280 --> 1:14:55.200
<v Speaker 1>You're the doctor Dog of or White. It's the doctor

1:14:55.240 --> 1:14:59.439
<v Speaker 1>Dog of movies, alright. And then five questions with Eric Slick.

1:14:59.520 --> 1:15:01.600
<v Speaker 1>Here we go. First movie you remember seeing in the

1:15:01.600 --> 1:15:05.680
<v Speaker 1>movie theater? Oh, that would be Home Alone. Okay. I

1:15:05.720 --> 1:15:07.920
<v Speaker 1>saw Home Alone with my family and it was like

1:15:07.960 --> 1:15:10.640
<v Speaker 1>an iconic moment. And I was three years old, so

1:15:10.720 --> 1:15:12.920
<v Speaker 1>I was cognizant and I was aware that the theater

1:15:13.080 --> 1:15:16.800
<v Speaker 1>was erupting in pandemonium. I still stand by that movie

1:15:16.880 --> 1:15:20.160
<v Speaker 1>Home Alone. Oh yeah, I love Home Alone, fun movie.

1:15:20.200 --> 1:15:23.680
<v Speaker 1>It's it's pretty brutal. They those two guys would have

1:15:23.680 --> 1:15:25.920
<v Speaker 1>been dead after the first paint bucket hit their faces.

1:15:26.280 --> 1:15:29.840
<v Speaker 1>Their skulls would have been collapsed. But I remember laughing

1:15:29.880 --> 1:15:32.120
<v Speaker 1>so hard at that sequence to break in sequence, it's

1:15:32.160 --> 1:15:34.400
<v Speaker 1>car it's cartoony. And then you got Home Alone Too,

1:15:34.400 --> 1:15:36.760
<v Speaker 1>which is is the same movie. I don't even know

1:15:36.760 --> 1:15:38.280
<v Speaker 1>if I saw that one. Home Alone Too is the

1:15:38.320 --> 1:15:41.040
<v Speaker 1>same film. Watching again, it's the same film. They just

1:15:41.120 --> 1:15:43.280
<v Speaker 1>farted that one out. They're like, and then He'll be

1:15:43.280 --> 1:15:45.400
<v Speaker 1>a friend. Another lonely old person in the movie, and

1:15:45.920 --> 1:15:47.920
<v Speaker 1>this one at this time she likes pigeons instead of

1:15:47.960 --> 1:15:52.720
<v Speaker 1>salting the sidewalks. First R rated movie you saw? The

1:15:52.720 --> 1:15:54.800
<v Speaker 1>first R rated movie I saw. It was called The

1:15:54.800 --> 1:16:01.920
<v Speaker 1>Groove Tube. My family. My family was very liberal, uh,

1:16:02.200 --> 1:16:05.720
<v Speaker 1>to an extreme degree where they didn't believe in censorship,

1:16:06.280 --> 1:16:10.000
<v Speaker 1>and I I really appreciate that about them, and they

1:16:10.720 --> 1:16:12.720
<v Speaker 1>my parents bonded over this movie called The Groove two,

1:16:12.720 --> 1:16:15.800
<v Speaker 1>which was like a sketch comedy movie. It's Chevy Chase's

1:16:15.840 --> 1:16:20.200
<v Speaker 1>first yeah yeah uh, and it's pretty raunchy. And I

1:16:20.240 --> 1:16:23.600
<v Speaker 1>saw it when I was four, and it became like

1:16:23.640 --> 1:16:25.800
<v Speaker 1>a family class that they fast forward through some parts

1:16:25.800 --> 1:16:31.040
<v Speaker 1>of the movie, like some gratuitous nudity scenes, but there

1:16:31.120 --> 1:16:32.600
<v Speaker 1>was a lot of f bombs and a lot of

1:16:33.200 --> 1:16:36.320
<v Speaker 1>uh you know, there's a whole like stoner heroin sequence

1:16:36.360 --> 1:16:38.800
<v Speaker 1>in that movie. It's like, I can't believe my parents

1:16:38.840 --> 1:16:42.200
<v Speaker 1>showed me that film. Awesome. Uh And then they showed

1:16:42.240 --> 1:16:45.400
<v Speaker 1>me Paining Floyd's the Wall was five wow with the

1:16:45.439 --> 1:16:48.400
<v Speaker 1>meat grinders, and like I was into that in high school.

1:16:48.400 --> 1:16:50.439
<v Speaker 1>Oh yeah, who wasn't? Um, I was into it in

1:16:50.560 --> 1:16:54.080
<v Speaker 1>high school also, Uh yeah that Those were the first

1:16:54.080 --> 1:16:56.000
<v Speaker 1>two r A movies I saw, and I was like

1:16:56.040 --> 1:16:59.320
<v Speaker 1>four and five. That's good. My parents are cool, very

1:16:59.320 --> 1:17:03.240
<v Speaker 1>cool people. Will you walk out of a bad movie? Oh,

1:17:03.360 --> 1:17:05.840
<v Speaker 1>I've I've walked out of one movie. And then I

1:17:05.840 --> 1:17:07.880
<v Speaker 1>went back the next day and saw it again. Whoa.

1:17:08.080 --> 1:17:10.080
<v Speaker 1>I was on a date and I saw the movie

1:17:10.080 --> 1:17:15.080
<v Speaker 1>Funny Games, which is a brutal, brutal film, the original

1:17:15.280 --> 1:17:18.320
<v Speaker 1>foreign film or the remake, the remake that was produced

1:17:18.479 --> 1:17:24.960
<v Speaker 1>by the David Lynch actress. Um, I'll remember something. Naomi Watts, right,

1:17:25.040 --> 1:17:27.639
<v Speaker 1>Jaomi Watts like produced it with the original director. It's

1:17:27.640 --> 1:17:30.160
<v Speaker 1>a shot for shot remake. Yeah, but it is so

1:17:30.400 --> 1:17:33.760
<v Speaker 1>violently brutal. But I but I like loved it, and

1:17:33.920 --> 1:17:35.760
<v Speaker 1>my date did not love it, and she was got

1:17:35.760 --> 1:17:37.639
<v Speaker 1>out of there for her got out of there after

1:17:37.680 --> 1:17:39.920
<v Speaker 1>about a half hour and she was like, you know,

1:17:40.080 --> 1:17:43.280
<v Speaker 1>we're not watching this film, and I was like, yeah, cool.

1:17:43.400 --> 1:17:45.200
<v Speaker 1>But then the next day I was like, that film

1:17:45.320 --> 1:17:49.040
<v Speaker 1>ruled uh. And of course it's like soundtrack by John Zorne,

1:17:49.080 --> 1:17:50.880
<v Speaker 1>so I was like, this is this is my bread

1:17:50.920 --> 1:17:54.519
<v Speaker 1>and butter, you know, like murder movie with John Zorn soundtrack,

1:17:54.640 --> 1:17:57.880
<v Speaker 1>Sign me up. And I also knew that the movie

1:17:57.920 --> 1:18:00.200
<v Speaker 1>was a statement piece. So it's fine. But that's only

1:18:00.200 --> 1:18:03.080
<v Speaker 1>time I've ever walked out a movie movie that's good,

1:18:03.240 --> 1:18:05.960
<v Speaker 1>that's it, And it was to be a gentleman of sorts.

1:18:06.040 --> 1:18:09.559
<v Speaker 1>It was trying. I was trying. But the sick part

1:18:09.560 --> 1:18:10.920
<v Speaker 1>of it is that I went back the next day

1:18:11.080 --> 1:18:13.760
<v Speaker 1>and loved it and then bought it on DVD. Yeah.

1:18:13.840 --> 1:18:16.160
<v Speaker 1>I mean, it's a tough movie, but it's I did

1:18:16.200 --> 1:18:19.720
<v Speaker 1>like the movie and I saw both Yeah you got it. Um.

1:18:19.840 --> 1:18:23.040
<v Speaker 1>So this one I usually will tailor to the guest

1:18:24.080 --> 1:18:29.200
<v Speaker 1>who is your favorite drummer of all time? Well, you

1:18:29.240 --> 1:18:31.759
<v Speaker 1>can name a couple, you know, No, my gut reaction

1:18:31.920 --> 1:18:34.559
<v Speaker 1>has to be a Ringo only because he was the

1:18:34.560 --> 1:18:37.200
<v Speaker 1>first drummer I saw on a television and I think

1:18:37.200 --> 1:18:39.599
<v Speaker 1>a lot of people had this experience with Ringo where

1:18:39.640 --> 1:18:42.160
<v Speaker 1>you see him and you can immediately relate. And I

1:18:42.960 --> 1:18:46.000
<v Speaker 1>saw him and he was goofy, but he was beating

1:18:46.000 --> 1:18:48.360
<v Speaker 1>the crap out of the drums and he was like smiling,

1:18:48.640 --> 1:18:51.240
<v Speaker 1>and there was just something about that. And I was

1:18:51.240 --> 1:18:53.519
<v Speaker 1>already interested in the drums, but he was like my

1:18:53.560 --> 1:18:57.000
<v Speaker 1>first icon, you know. And uh, even when I drum now,

1:18:57.040 --> 1:18:58.800
<v Speaker 1>people will be like, oh, you're doing your Ringo thing,

1:18:58.840 --> 1:19:01.080
<v Speaker 1>and it's like it's like I was saying, how things

1:19:01.080 --> 1:19:02.720
<v Speaker 1>can be a part of your DNA, Like Ringo is

1:19:02.760 --> 1:19:04.760
<v Speaker 1>a part of my DNA. I can do. I can

1:19:04.760 --> 1:19:08.400
<v Speaker 1>play Ringo all day. Uh. And then as time we're on,

1:19:08.600 --> 1:19:10.920
<v Speaker 1>I got you know, you go through the laundry list

1:19:11.000 --> 1:19:14.120
<v Speaker 1>of classic rock drummers, and then I got really into

1:19:14.479 --> 1:19:19.360
<v Speaker 1>like seventies soul drummers. Um. So my twenties and now

1:19:19.479 --> 1:19:23.080
<v Speaker 1>thirties like has been dedicated to studying classic soul drummers

1:19:23.120 --> 1:19:28.840
<v Speaker 1>like Bernard Party and Al Jackson Jr. Uh. When I

1:19:28.320 --> 1:19:30.160
<v Speaker 1>was but prior to that, I was also in a

1:19:30.240 --> 1:19:33.120
<v Speaker 1>huge jazz phase. So I was like studying Tony Williams,

1:19:33.160 --> 1:19:37.880
<v Speaker 1>and I was studying Max Roach and uh, just all

1:19:38.880 --> 1:19:41.800
<v Speaker 1>Gernardo Coleman, just like all these drummers who are like

1:19:41.800 --> 1:19:45.519
<v Speaker 1>super important to me. But if if there's an origin,

1:19:46.439 --> 1:19:49.519
<v Speaker 1>Ringo ringoes the origin, but so much has spread out

1:19:49.520 --> 1:19:53.639
<v Speaker 1>from that, and nowadays I would probably say either Bernard

1:19:53.640 --> 1:19:56.160
<v Speaker 1>Party is my favorite, Oregoniam James Gadson, who played on

1:19:56.160 --> 1:19:59.479
<v Speaker 1>all the Bill Wither stuff, just because like there's such

1:19:59.479 --> 1:20:02.040
<v Speaker 1>a refined the quality war Party will also tell you

1:20:02.080 --> 1:20:04.160
<v Speaker 1>that he played on all the Beatles recordings. He has

1:20:04.240 --> 1:20:07.599
<v Speaker 1>this really outlandish thing, like when I Party played on

1:20:07.600 --> 1:20:09.680
<v Speaker 1>ten thousand records, but he still wants to say that

1:20:09.680 --> 1:20:11.760
<v Speaker 1>he played on all the Beatles records may or may

1:20:11.800 --> 1:20:14.479
<v Speaker 1>not be true. I've always heard so much ship talking

1:20:14.479 --> 1:20:18.240
<v Speaker 1>about Ringo not playing on the records and that Paul

1:20:18.360 --> 1:20:21.920
<v Speaker 1>was even a better drummer. I just I don't know,

1:20:21.960 --> 1:20:23.840
<v Speaker 1>I don't I don't believe it. I don't want to

1:20:23.840 --> 1:20:26.240
<v Speaker 1>believe it. I'll tell you why you shouldn't believe it,

1:20:26.320 --> 1:20:29.160
<v Speaker 1>because when you watch Let it Be the whatever rough

1:20:29.160 --> 1:20:32.559
<v Speaker 1>cut is out online, Ringo is playing all those drums

1:20:32.720 --> 1:20:36.160
<v Speaker 1>and it sounds like ringo. Yeah, ringo is that is

1:20:37.080 --> 1:20:40.759
<v Speaker 1>his touch and feel. It is sloshy. It's weird. He's

1:20:40.800 --> 1:20:42.840
<v Speaker 1>left handed playing a right handed kit, so he always

1:20:42.920 --> 1:20:45.599
<v Speaker 1>leads with his left hand. Interesting, so his fills always

1:20:45.600 --> 1:20:47.920
<v Speaker 1>start on a rack tom or or something that's kind

1:20:47.920 --> 1:20:51.840
<v Speaker 1>of unconventional. It's not the drummer like the classic like

1:20:52.000 --> 1:20:57.760
<v Speaker 1>linear way of doing something like it's always yeah, you

1:20:58.040 --> 1:21:00.400
<v Speaker 1>had that little that simpol sweep thing. But if he

1:21:00.439 --> 1:21:04.240
<v Speaker 1>would do he was like it never looked like he

1:21:04.320 --> 1:21:06.679
<v Speaker 1>was working hard because he was such a laid back

1:21:06.840 --> 1:21:11.000
<v Speaker 1>kind of guy. But when you watch those early Beatles performances,

1:21:11.040 --> 1:21:13.920
<v Speaker 1>those drums are about to shake off the fucking riser.

1:21:14.120 --> 1:21:16.679
<v Speaker 1>Oh it's the most punk rock thing. It's uh that

1:21:16.720 --> 1:21:19.000
<v Speaker 1>there's a but he's wearing a suit and he's like,

1:21:19.080 --> 1:21:21.200
<v Speaker 1>you know, there's that DC performance. I think I know

1:21:21.200 --> 1:21:25.520
<v Speaker 1>what you're talking about, where like or it got remastered

1:21:25.560 --> 1:21:27.719
<v Speaker 1>a couple of years ago for the Ron Howard movie

1:21:28.000 --> 1:21:30.559
<v Speaker 1>that was so good Eight Days a Week show. I mean,

1:21:30.600 --> 1:21:33.240
<v Speaker 1>he's just like, they didn't have sound systems back then.

1:21:33.240 --> 1:21:35.280
<v Speaker 1>There a system, so he's like, is trying to be

1:21:35.400 --> 1:21:39.160
<v Speaker 1>heard on the back row. He's trying to be heard. Well,

1:21:39.240 --> 1:21:41.920
<v Speaker 1>people are screaming at a louder decibel level and the

1:21:41.960 --> 1:21:45.639
<v Speaker 1>band is being heard at um. But Ringo, yeah, Ringo

1:21:45.800 --> 1:21:49.760
<v Speaker 1>is so great and uh yeah. I mean then when

1:21:49.800 --> 1:21:51.599
<v Speaker 1>I was like eight years old, I heard John Bonham

1:21:51.640 --> 1:21:55.040
<v Speaker 1>and like then I just tried to do John Bonham, like,

1:21:55.360 --> 1:21:57.559
<v Speaker 1>I studied that stuff so deeply. And then when I

1:21:57.600 --> 1:22:01.200
<v Speaker 1>was fourteen, I got really into prog rock, and so

1:22:01.280 --> 1:22:03.600
<v Speaker 1>I studied all the Neil Pert and Bill Bruford, you know,

1:22:03.640 --> 1:22:05.479
<v Speaker 1>like you just go through the line and you leave

1:22:05.520 --> 1:22:08.639
<v Speaker 1>on Helm in there totally. So when I was seventeen,

1:22:08.680 --> 1:22:11.639
<v Speaker 1>I heard the band, and then actually from my eighteenth birthday,

1:22:11.800 --> 1:22:15.360
<v Speaker 1>my mom bought me tickets for levon Helm's ramble It

1:22:15.479 --> 1:22:18.040
<v Speaker 1>has How did you go? I went on my on

1:22:18.160 --> 1:22:20.880
<v Speaker 1>my eighteen birthday. That's one of my life regrets. Dude.

1:22:20.880 --> 1:22:23.160
<v Speaker 1>I went on my eighteen birthday and my mom just

1:22:23.200 --> 1:22:25.000
<v Speaker 1>bought me a ticket. And this is how cool my

1:22:25.040 --> 1:22:26.519
<v Speaker 1>parents are. They're like, yeah, I just figure out a

1:22:26.560 --> 1:22:28.400
<v Speaker 1>way to go up there. I'm eighteen. I have no

1:22:28.479 --> 1:22:30.640
<v Speaker 1>idea what I'm doing. I took a great hound up

1:22:30.640 --> 1:22:34.040
<v Speaker 1>to Woodstock, didn't get a hotel. I didn't realize that

1:22:34.080 --> 1:22:36.479
<v Speaker 1>I needed a hotel. And after the show's over, I'm

1:22:36.479 --> 1:22:39.280
<v Speaker 1>hanging out with Levan and he's I'm like, hey, man,

1:22:39.320 --> 1:22:42.840
<v Speaker 1>you're my favorite one of my favorite drummers. Like, do

1:22:42.880 --> 1:22:46.160
<v Speaker 1>you know any hotels around here? Do you stay there? No?

1:22:47.520 --> 1:22:49.599
<v Speaker 1>Levan was like I'd offer He was like, I'd offer

1:22:49.640 --> 1:22:52.799
<v Speaker 1>it up, but we already got guest day and but normally, yeah,

1:22:53.040 --> 1:22:55.280
<v Speaker 1>I would let you stay here, you know, Like he

1:22:55.360 --> 1:22:57.360
<v Speaker 1>was like, I'll give you the shirt off my back. Yeah.

1:22:58.240 --> 1:23:02.800
<v Speaker 1>A sweetheart, very Southern gentlemen kind of guy. I was

1:23:02.840 --> 1:23:05.519
<v Speaker 1>able to see him my buddy, uh that is coming tonight,

1:23:05.640 --> 1:23:09.080
<v Speaker 1>Eddie and I saw him on that last tour that

1:23:09.120 --> 1:23:13.799
<v Speaker 1>he did in Atlanta, UM, which was just like bucket

1:23:13.800 --> 1:23:16.320
<v Speaker 1>list ship. But we we always wanted to get to

1:23:16.360 --> 1:23:19.799
<v Speaker 1>a ramble and we thought we had time and we didn't.

1:23:20.000 --> 1:23:22.200
<v Speaker 1>The band that I got to see was really good too.

1:23:22.240 --> 1:23:26.360
<v Speaker 1>It was like lev On and Um Jimmy Vavino from

1:23:26.400 --> 1:23:29.920
<v Speaker 1>the band was playing guitar back when Conan was still

1:23:29.920 --> 1:23:32.080
<v Speaker 1>in New York. This is a long time ago. UM

1:23:32.600 --> 1:23:36.639
<v Speaker 1>and Uh, Hubert Sumlin, who was helen Wolf's guitar player,

1:23:36.960 --> 1:23:39.559
<v Speaker 1>I was playing guitar and then his daughter came out

1:23:39.640 --> 1:23:42.240
<v Speaker 1>Amy and it was just a it was just a

1:23:42.280 --> 1:23:46.559
<v Speaker 1>great night. Like they didn't play they played Evangeline and

1:23:46.600 --> 1:23:49.559
<v Speaker 1>they didn't do any band songs like yeah, they did

1:23:49.760 --> 1:23:52.040
<v Speaker 1>like a bunch of Dylan Saw stuff they did, don't

1:23:52.080 --> 1:23:56.120
<v Speaker 1>you tell Henry. They did a lot of basement tape stuff. Um,

1:23:56.160 --> 1:23:57.920
<v Speaker 1>but it was just a riot. Man, it was so

1:23:57.960 --> 1:24:02.000
<v Speaker 1>fun and I had a blast. Man, he was amazing

1:24:02.040 --> 1:24:05.360
<v Speaker 1>to watch. I wish you like. This was before iPhone,

1:24:05.439 --> 1:24:07.880
<v Speaker 1>so I was just there. Yeah, man, I was just

1:24:07.960 --> 1:24:13.479
<v Speaker 1>present watching Masters. Yeah you know, and there's like a

1:24:13.479 --> 1:24:16.759
<v Speaker 1>picture of Richard Manual and a picture of Tan above

1:24:16.800 --> 1:24:19.599
<v Speaker 1>the stage. But yeah, just you know, I went through

1:24:19.600 --> 1:24:23.320
<v Speaker 1>a heavy Helm phase. Man. Sure, for sure. They're probably

1:24:23.360 --> 1:24:27.960
<v Speaker 1>my favorite band. Good call a altho. Although as the

1:24:28.000 --> 1:24:33.080
<v Speaker 1>time wears on with their stuff, they the records get

1:24:33.080 --> 1:24:37.200
<v Speaker 1>a little bit spottier, but well through their career, the career, yeah,

1:24:37.280 --> 1:24:39.360
<v Speaker 1>whether you get you know, with Northern Light Southern Cross,

1:24:39.360 --> 1:24:41.080
<v Speaker 1>you get it makes no difference. Which I just like,

1:24:41.200 --> 1:24:43.479
<v Speaker 1>one of the most heartbreaking, beautiful songs of all time.

1:24:43.640 --> 1:24:46.120
<v Speaker 1>So well, that's why Dr Dog always kind of reminded

1:24:46.160 --> 1:24:47.920
<v Speaker 1>me a little bit of the band was not even

1:24:47.960 --> 1:24:50.880
<v Speaker 1>so much the music, but the the juxtaposition of the

1:24:50.880 --> 1:24:54.800
<v Speaker 1>two voices of Scott and Toby Uh in the band had,

1:24:54.920 --> 1:24:57.519
<v Speaker 1>you know, like Richard Manual Man, like the maybe the

1:24:57.520 --> 1:25:02.479
<v Speaker 1>most soulful white dude, yeah, and then the southern hill

1:25:02.520 --> 1:25:05.559
<v Speaker 1>billy with leave On and then Rick Danko and like

1:25:06.200 --> 1:25:11.639
<v Speaker 1>your permanently nervous voice. Yeah, what's my favorite one, crazy chick.

1:25:13.680 --> 1:25:17.400
<v Speaker 1>He's just always so nervous. Oh man, I just hate

1:25:17.439 --> 1:25:19.519
<v Speaker 1>that those we lost all those guys. I know me too,

1:25:19.520 --> 1:25:22.560
<v Speaker 1>man uh, and we're left with Robbie. But he was

1:25:22.600 --> 1:25:24.760
<v Speaker 1>a genius, but he probably kind of likes to hear

1:25:24.800 --> 1:25:27.679
<v Speaker 1>himself talk. Check this out. My first concert ever, which

1:25:27.680 --> 1:25:30.200
<v Speaker 1>I don't remember, My first concert ever was Ringo Star

1:25:30.240 --> 1:25:32.960
<v Speaker 1>and his all star band. He always has great people,

1:25:33.040 --> 1:25:35.880
<v Speaker 1>but the first year he did it was I went.

1:25:35.960 --> 1:25:38.719
<v Speaker 1>My parents took me. That was my first show, and

1:25:39.520 --> 1:25:44.920
<v Speaker 1>the band was leave On, Rick Danko and Jim Kiltner,

1:25:45.200 --> 1:25:48.320
<v Speaker 1>who is a famous uh He's like played on all

1:25:48.360 --> 1:25:52.880
<v Speaker 1>the George Harrison record, phenomenal drummer. But that was my

1:25:52.920 --> 1:25:54.800
<v Speaker 1>first concert, so it was Ringo and the band. So

1:25:54.840 --> 1:25:56.960
<v Speaker 1>it makes a lot of sense that I would gravitate

1:25:57.000 --> 1:26:00.720
<v Speaker 1>towards a band like dr dog. That's great, that's just

1:26:00.880 --> 1:26:03.439
<v Speaker 1>in there. You know. The band was always famous for

1:26:03.520 --> 1:26:05.559
<v Speaker 1>other people wanting to be in the band, Like Air

1:26:05.560 --> 1:26:07.599
<v Speaker 1>Clapton wanted to be in the band, and that's why

1:26:07.600 --> 1:26:10.080
<v Speaker 1>he made a blind faith. Yeah, like every time one

1:26:10.120 --> 1:26:12.679
<v Speaker 1>of them they were like, well, that's that's the group

1:26:12.720 --> 1:26:14.280
<v Speaker 1>I wanted to be in. Oh yeah they were a

1:26:14.360 --> 1:26:17.800
<v Speaker 1>musicians band, yeah, because they were really planned and then

1:26:18.000 --> 1:26:19.599
<v Speaker 1>they came up with the Hawks and they were like

1:26:19.720 --> 1:26:22.519
<v Speaker 1>they had their chops, they were players, they could do

1:26:22.560 --> 1:26:25.360
<v Speaker 1>it um. But the Clapton story is that he broke

1:26:25.439 --> 1:26:27.400
<v Speaker 1>up cream when he heard the first band record music

1:26:27.400 --> 1:26:29.360
<v Speaker 1>from Big Bike because he was like, this is what

1:26:29.439 --> 1:26:31.519
<v Speaker 1>I want to do. This is pointless. They were doing

1:26:31.560 --> 1:26:33.400
<v Speaker 1>something so different for the time too. I mean that

1:26:33.479 --> 1:26:36.200
<v Speaker 1>was the band was making that kind of music when

1:26:36.200 --> 1:26:39.120
<v Speaker 1>like Jimi Hendrix was making his kind of music. They're

1:26:39.200 --> 1:26:41.400
<v Speaker 1>kind of like the first hipster band in a way

1:26:41.479 --> 1:26:44.479
<v Speaker 1>because they were doing everything that was antithetical to what

1:26:44.560 --> 1:26:47.760
<v Speaker 1>was happening. So you have this like, you know, there

1:26:47.800 --> 1:26:50.439
<v Speaker 1>was that the line from The Last Walls. He's like,

1:26:50.680 --> 1:26:57.479
<v Speaker 1>they're always bands like Marshmallow over um um Strawberry Alarm,

1:26:57.840 --> 1:27:01.640
<v Speaker 1>Marshmallow And then you have the band and it's just

1:27:01.720 --> 1:27:05.200
<v Speaker 1>so pure and so acoustic sounding. In a time when

1:27:05.280 --> 1:27:09.160
<v Speaker 1>everything was like wow, everything was a wash, you had

1:27:09.160 --> 1:27:12.280
<v Speaker 1>this band. It's like real, like there's no picture of

1:27:12.320 --> 1:27:17.160
<v Speaker 1>them on the album cover. The famous thing was was

1:27:17.960 --> 1:27:22.240
<v Speaker 1>the photographer for the band, Elliott Landy. Um. The label

1:27:22.400 --> 1:27:24.400
<v Speaker 1>Capital was like, we want to get you the best

1:27:24.400 --> 1:27:26.760
<v Speaker 1>photographers because you're gonna be the best band. You're the band,

1:27:26.800 --> 1:27:30.280
<v Speaker 1>and Abbie Robertson was like, can you find the worst photographer?

1:27:30.680 --> 1:27:32.920
<v Speaker 1>And somebody at the label was like what They're like, well,

1:27:32.960 --> 1:27:36.400
<v Speaker 1>there's this guy, Elliott Landy who writes for Cream magazine,

1:27:36.439 --> 1:27:40.920
<v Speaker 1>who this is the worst photographer I've ever seen. And

1:27:41.000 --> 1:27:43.120
<v Speaker 1>he ended up doing the band's photos and he doesn't

1:27:43.160 --> 1:27:46.400
<v Speaker 1>the those iconic photos there on the farm, all those

1:27:46.400 --> 1:27:49.400
<v Speaker 1>photos are Elliot land there, all those iconic photos and

1:27:49.640 --> 1:27:53.000
<v Speaker 1>Nashville Skyline, which is one of the most incredible album covers.

1:27:53.080 --> 1:27:55.519
<v Speaker 1>Uh So it just goes to show you what like

1:27:55.720 --> 1:27:58.599
<v Speaker 1>uh yeah, I mean you just gotta gut, you go

1:27:58.640 --> 1:28:00.479
<v Speaker 1>against the grain as much as you can. And right

1:28:00.640 --> 1:28:03.400
<v Speaker 1>like did you ever see Festival Express Oh yeah, yeah,

1:28:04.080 --> 1:28:08.040
<v Speaker 1>uh I shall be released from the Festival Expresses, like

1:28:09.200 --> 1:28:13.800
<v Speaker 1>top top Notch and you know funny you should mention

1:28:13.840 --> 1:28:17.120
<v Speaker 1>it like every year in New York at the Capitol

1:28:17.200 --> 1:28:20.720
<v Speaker 1>Theater in Westchester. I'm I do ah, I'm part of

1:28:20.760 --> 1:28:23.559
<v Speaker 1>a Last Waltz. We do the complete Last Waltz, all

1:28:23.960 --> 1:28:26.800
<v Speaker 1>four hours of it. Yeah, Toby's done it, Scott's done it.

1:28:27.320 --> 1:28:30.760
<v Speaker 1>Um My girlfriend Natalie's done it. Um Man, I'm gonna

1:28:30.760 --> 1:28:32.479
<v Speaker 1>have to go to that. We're doing it again this year.

1:28:32.640 --> 1:28:35.400
<v Speaker 1>When when is it? It's like a week before Thanksgiving? Okay,

1:28:35.400 --> 1:28:37.560
<v Speaker 1>because they do a similar thing in Atlanta at this

1:28:37.640 --> 1:28:40.800
<v Speaker 1>place Smissile Bar, they do the Last yeahs a bunch.

1:28:41.080 --> 1:28:45.120
<v Speaker 1>Yeah that's awesome. Uh. The complete Last Waltz is fun though,

1:28:45.160 --> 1:28:47.920
<v Speaker 1>because you do all the stuff that's not in the movie. Yeah. Yeah.

1:28:48.040 --> 1:28:51.400
<v Speaker 1>So you're doing like, uh these weird Neil Young like

1:28:52.240 --> 1:28:57.040
<v Speaker 1>sea sides, like uh four strong winds, and then you

1:28:57.080 --> 1:29:00.320
<v Speaker 1>do Joni Mitchell's Coyote, which is the movie. Then you

1:29:00.360 --> 1:29:04.960
<v Speaker 1>do like what Fairy sings the Blues, which is like

1:29:05.520 --> 1:29:10.320
<v Speaker 1>uh court and spark song that's like super long and weird. Uh,

1:29:10.360 --> 1:29:12.840
<v Speaker 1>and then there's a lot of blues jams you gotta do.

1:29:14.000 --> 1:29:16.000
<v Speaker 1>He just biding their time waiting for Neil young to

1:29:16.040 --> 1:29:21.160
<v Speaker 1>finish up is like cocaine, cocaine. He's so twitchy in

1:29:21.160 --> 1:29:24.320
<v Speaker 1>that movie. They you know the well, I feel like

1:29:24.439 --> 1:29:27.120
<v Speaker 1>before you've asked me this last question, you know that

1:29:27.120 --> 1:29:30.599
<v Speaker 1>they edited out his coke Bogger. That's like the Yeah,

1:29:30.680 --> 1:29:32.800
<v Speaker 1>I've heard that he had a like a you could

1:29:32.800 --> 1:29:35.160
<v Speaker 1>see it on film, right or Casey edited it out

1:29:35.720 --> 1:29:40.080
<v Speaker 1>and it did it. Yeah, it's gone coke Booger. That's

1:29:40.080 --> 1:29:43.800
<v Speaker 1>a good band name. Um all right. And finally, boy,

1:29:43.840 --> 1:29:46.200
<v Speaker 1>we just went down the band rabbit holder. No I will.

1:29:46.600 --> 1:29:48.720
<v Speaker 1>That's easy for me to do, so yeah, and I

1:29:48.720 --> 1:29:51.519
<v Speaker 1>brought it up. Yeah. Movie going one on one with

1:29:51.680 --> 1:29:54.280
<v Speaker 1>Eric's like, here we go, what's your what's your ritual?

1:29:54.320 --> 1:29:55.680
<v Speaker 1>Like at the movie theater? Where do you sit? What

1:29:55.720 --> 1:29:57.680
<v Speaker 1>do you get at the concession stand? Oh man, this

1:29:57.800 --> 1:30:00.640
<v Speaker 1>I feel like this is such a indicative of my personality.

1:30:00.680 --> 1:30:02.240
<v Speaker 1>But I walk right up the stairs and I go

1:30:02.439 --> 1:30:05.160
<v Speaker 1>directly in the middle. I go right in the middle

1:30:05.200 --> 1:30:07.360
<v Speaker 1>because I like to be at eye level with the

1:30:07.400 --> 1:30:10.920
<v Speaker 1>screen I've been in. I've had so many situations where

1:30:10.920 --> 1:30:12.439
<v Speaker 1>I showed up late to the theater and I gotta

1:30:12.479 --> 1:30:14.440
<v Speaker 1>sit all the way up front, and I'm like squinting

1:30:14.560 --> 1:30:17.680
<v Speaker 1>to see borat or you know, like or like I've

1:30:17.720 --> 1:30:19.200
<v Speaker 1>been all the way in the back and I can't

1:30:19.240 --> 1:30:21.640
<v Speaker 1>hear everything, so I try to go early enough to

1:30:21.680 --> 1:30:24.799
<v Speaker 1>sit really close. And then you know, if I'm alone,

1:30:25.360 --> 1:30:28.920
<v Speaker 1>I get Reese's pieces. If I'm with easy don't want

1:30:28.920 --> 1:30:31.840
<v Speaker 1>to share, I'm alone, I'm just like I get the

1:30:32.040 --> 1:30:35.280
<v Speaker 1>king size Reese's pieces, and like indulge. I indulge. And

1:30:35.360 --> 1:30:39.000
<v Speaker 1>maybe that's like an e t like a subconscious connection

1:30:39.080 --> 1:30:44.240
<v Speaker 1>to movies and what candy I should be eating it movies. Um,

1:30:44.280 --> 1:30:48.320
<v Speaker 1>but if I'm with Natalie, uh, we either get uh

1:30:48.640 --> 1:30:53.920
<v Speaker 1>popcorn or sometimes we'll even like sneak snacks in our purse. Um,

1:30:53.960 --> 1:30:56.599
<v Speaker 1>but yeah, we there's a that we we live two

1:30:56.600 --> 1:31:00.439
<v Speaker 1>blocks away from the Criterion Cinema and and yes, so

1:31:00.479 --> 1:31:04.519
<v Speaker 1>we're like we're loving it. Reserve seating there, Uh, there's

1:31:04.560 --> 1:31:08.680
<v Speaker 1>no reserve seating, but it's Virginia. And then like like

1:31:08.760 --> 1:31:10.599
<v Speaker 1>not a lot of people are going to the Criterion part.

1:31:10.680 --> 1:31:13.160
<v Speaker 1>Usually they're going to the main cinema and the Criteria

1:31:13.200 --> 1:31:15.240
<v Speaker 1>I started, you know, I'm start house. It's the art

1:31:15.240 --> 1:31:17.120
<v Speaker 1>house one. So like when there's a new Woody Allen

1:31:17.160 --> 1:31:19.320
<v Speaker 1>movie or something we'll go or you know, if there's

1:31:19.320 --> 1:31:21.720
<v Speaker 1>some movie we need to see, we check it out

1:31:21.760 --> 1:31:24.519
<v Speaker 1>and nice. That's our little that's that's about as much

1:31:24.520 --> 1:31:26.439
<v Speaker 1>of a ritual as we can do. It's usually a

1:31:26.520 --> 1:31:29.400
<v Speaker 1>movie is like, well it looks like crap outside, so

1:31:29.720 --> 1:31:33.400
<v Speaker 1>we should go see a movie. Yeah, good stuff. Yea man, alright, dude,

1:31:33.439 --> 1:31:36.240
<v Speaker 1>this is great, so fun. What if I'm talking? Oh absolutely,

1:31:36.360 --> 1:31:38.400
<v Speaker 1>I feel like I could have gone for another four hours.

1:31:38.880 --> 1:31:40.760
<v Speaker 1>I'll have you back in any year. Oh please, I

1:31:40.760 --> 1:31:42.880
<v Speaker 1>would love to come back for sure. Yeah. Man, all right,

1:31:42.880 --> 1:31:54.200
<v Speaker 1>thanks a lot, thank you. All right, everybody, another one

1:31:54.240 --> 1:31:56.600
<v Speaker 1>in the can. That was a good one. Just to

1:31:56.640 --> 1:31:59.120
<v Speaker 1>follow up, Eric was kind enough to put me and

1:31:59.160 --> 1:32:01.720
<v Speaker 1>my buddy Eddie I'm a guest list for Dr Dog

1:32:01.800 --> 1:32:04.320
<v Speaker 1>that night with backstage passes. We went down to the

1:32:04.320 --> 1:32:08.000
<v Speaker 1>Tabernacle and saw the band and they were awesome, went backstage,

1:32:08.560 --> 1:32:11.720
<v Speaker 1>hung out with the boys, and uh, it was a

1:32:11.760 --> 1:32:13.519
<v Speaker 1>lot of fun. One of one of the great nights.

1:32:13.840 --> 1:32:15.519
<v Speaker 1>And he you know, we talked a little bit about

1:32:15.600 --> 1:32:18.880
<v Speaker 1>music and privately, like, you know, what's it like out

1:32:18.920 --> 1:32:21.200
<v Speaker 1>there playing all these shows day after day and don't

1:32:21.200 --> 1:32:23.960
<v Speaker 1>you get bored and sick of it? And they were.

1:32:24.040 --> 1:32:26.000
<v Speaker 1>They were pumped after the show and he came back

1:32:26.000 --> 1:32:28.320
<v Speaker 1>and he was like, dudes, he went, you just saw

1:32:28.800 --> 1:32:31.880
<v Speaker 1>a perfect Doctor Dog show. And he was like, good

1:32:31.920 --> 1:32:35.080
<v Speaker 1>for you. We hit on all cylinders. Everyone had a

1:32:35.080 --> 1:32:37.559
<v Speaker 1>great time. Because I always wonder, you know, when I'm

1:32:37.600 --> 1:32:40.120
<v Speaker 1>seeing a band, you know, it looks like they're enjoying

1:32:40.120 --> 1:32:42.880
<v Speaker 1>it most times. But he was like, you read it right,

1:32:42.920 --> 1:32:45.759
<v Speaker 1>this is a good one. So support that band. They're awesome.

1:32:45.840 --> 1:32:48.479
<v Speaker 1>Go out and get their new album, Critical Equation that

1:32:48.560 --> 1:32:51.240
<v Speaker 1>was out this year, or any of their records are

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<v Speaker 1>all great. Uh, just really really good dudes. So thanks

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<v Speaker 1>to Eric, and thanks to Dr Dog for helping to

1:32:57.120 --> 1:33:00.519
<v Speaker 1>hook this up, and uh, thanks for listening. And until

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<v Speaker 1>next time. I've said it before and I'll say it again,

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<v Speaker 1>why don't you get yourself a musical instrument, learn to

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<v Speaker 1>play it, and go out and make some noise. Movie

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<v Speaker 1>Crush is produced, engineered, edited, and soundtracked by Noel Brown

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<v Speaker 1>and Ramsay Hunt at How Stuff Work Studios, Pot City Market, Atlanta, Georgia.