WEBVTT - Moby

0:00:15.476 --> 0:00:24.356
<v Speaker 1>Pushkin, Moby never stops working. His first taste of mega

0:00:24.396 --> 0:00:26.716
<v Speaker 1>success came in the early yats after the release of

0:00:26.756 --> 0:00:30.276
<v Speaker 1>his multi platinum album Play, which had a big hands

0:00:30.276 --> 0:00:34.316
<v Speaker 1>in electronic music being embraced by the mainstream. In the

0:00:34.356 --> 0:00:39.636
<v Speaker 1>two decades since, Moby's released nineteen more studio albums, including

0:00:39.676 --> 0:00:44.156
<v Speaker 1>his latest Resound and YC, where he reorchestrates songs he

0:00:44.236 --> 0:00:48.396
<v Speaker 1>recorded between ninety four and twenty ten. Moby's also spent

0:00:48.476 --> 0:00:50.716
<v Speaker 1>a good deal of the last two decades unpacking his

0:00:50.716 --> 0:00:55.196
<v Speaker 1>own unconventional upbringing and his meteoric rise to fame. He's

0:00:55.236 --> 0:00:58.876
<v Speaker 1>released two extensive memoirs that detail his hard party in

0:00:58.996 --> 0:01:01.236
<v Speaker 1>days and the low points that inspired him to get

0:01:01.236 --> 0:01:06.076
<v Speaker 1>sober fifteen years ago. He's also directed and produced various documentaries,

0:01:06.076 --> 0:01:09.876
<v Speaker 1>including the recent Punk Rock Vegan movie, which explores the

0:01:09.916 --> 0:01:13.556
<v Speaker 1>connection between two of his greatest passions, punk rock and

0:01:13.596 --> 0:01:17.196
<v Speaker 1>animal rights. On today's episode, Lea Rose talks to Moby

0:01:17.276 --> 0:01:20.396
<v Speaker 1>about his compulsive desire to make music and why he's

0:01:20.396 --> 0:01:24.036
<v Speaker 1>cut out nearly all in person socialization as a result.

0:01:24.636 --> 0:01:27.716
<v Speaker 1>Moby also reminisces about the massive party pad he bought

0:01:27.756 --> 0:01:30.556
<v Speaker 1>an upstate New York that led to years of all

0:01:30.596 --> 0:01:36.916
<v Speaker 1>out debauchery. This is broken record liner notes for the

0:01:36.956 --> 0:01:41.676
<v Speaker 1>digital age. I'm justin Mitchman. Here's Lea Rose with Moby.

0:01:42.636 --> 0:01:46.316
<v Speaker 2>I've spent the past couple of weeks trying to consume

0:01:46.396 --> 0:01:50.676
<v Speaker 2>all things MOBI, and it's really really difficult to do

0:01:50.756 --> 0:01:56.076
<v Speaker 2>because your body of work is just enormous. Twenty studio albums.

0:01:56.396 --> 0:02:00.716
<v Speaker 2>You've written four books, two memoirs which are each over

0:02:00.796 --> 0:02:02.236
<v Speaker 2>three hundred pages.

0:02:02.356 --> 0:02:05.596
<v Speaker 3>And that's truncated. They were each about eight hundred pages

0:02:05.676 --> 0:02:08.956
<v Speaker 3>before we got rid of all the unnecessary stuff.

0:02:09.476 --> 0:02:10.516
<v Speaker 4>Oh my gosh.

0:02:10.836 --> 0:02:14.956
<v Speaker 2>Yeah, two documentaries, and then you just released Punk Rock

0:02:15.076 --> 0:02:17.916
<v Speaker 2>Vegan Movie a couple months ago. You have a record label,

0:02:17.956 --> 0:02:22.196
<v Speaker 2>a photobook, restaurants, a podcast. I just wanted to ask you, like,

0:02:22.716 --> 0:02:25.516
<v Speaker 2>where do you think your work ethic comes from?

0:02:25.916 --> 0:02:28.876
<v Speaker 3>Well, here's the thing. I don't know if it's a

0:02:28.916 --> 0:02:31.596
<v Speaker 3>work ethic. I mean, it's kind of It makes me

0:02:31.716 --> 0:02:35.516
<v Speaker 3>think of a couple of years ago. And this is

0:02:35.716 --> 0:02:39.116
<v Speaker 3>as an old person. Forgive me because I speak in

0:02:39.476 --> 0:02:44.316
<v Speaker 3>pointless tangents. But a couple of years ago, I was

0:02:44.436 --> 0:02:48.116
<v Speaker 3>hiking with a friend in Angela's National Forest and there

0:02:48.196 --> 0:02:53.876
<v Speaker 3>was this weird shelf by a waterfall and a rattlesnake

0:02:53.916 --> 0:02:57.836
<v Speaker 3>had gotten trapped there, and for some reason, I'm not

0:02:57.916 --> 0:03:01.276
<v Speaker 3>afraid of snakes, and I jumped in and I helped

0:03:01.316 --> 0:03:03.676
<v Speaker 3>save the rattlesnake. I sort of shepherded it away so

0:03:03.836 --> 0:03:06.036
<v Speaker 3>like it could get away from this weird shelf that

0:03:06.076 --> 0:03:10.116
<v Speaker 3>it was trapped in. And my friend said, Wow, you're

0:03:10.156 --> 0:03:11.996
<v Speaker 3>so brave. I'm like, no, it's not brave at all,

0:03:11.996 --> 0:03:17.676
<v Speaker 3>because I wasn't scared, Like bravery only exists when you're

0:03:17.676 --> 0:03:20.916
<v Speaker 3>confronting something you're afraid of, Like I'm afraid of humans.

0:03:20.956 --> 0:03:24.356
<v Speaker 3>I'm just not afraid of snakes. So the same thing

0:03:24.396 --> 0:03:27.756
<v Speaker 3>with a work ethic, like work ethic to me implies

0:03:28.876 --> 0:03:32.716
<v Speaker 3>industrious labor around something that's a struggle, something you don't

0:03:32.716 --> 0:03:36.156
<v Speaker 3>want to do, and everything you just mentioned it's all

0:03:36.196 --> 0:03:39.116
<v Speaker 3>just stuff I love doing. So to me, it's, you know,

0:03:39.156 --> 0:03:41.596
<v Speaker 3>again that old cliche of like if you find something

0:03:41.636 --> 0:03:44.396
<v Speaker 3>you love and you do it every day, you'll never

0:03:44.396 --> 0:03:47.236
<v Speaker 3>work a day in your life. Like I honestly feel

0:03:47.236 --> 0:03:51.516
<v Speaker 3>that way because when I'm confronted with tasks that I

0:03:51.596 --> 0:03:55.156
<v Speaker 3>don't want to do, oh, that's when my work ethic

0:03:55.436 --> 0:04:00.356
<v Speaker 3>completely falls apart. Like I hate I'm such a I

0:04:00.396 --> 0:04:03.436
<v Speaker 3>don't know, like stunted adolescent child. And the funny thing

0:04:03.476 --> 0:04:07.156
<v Speaker 3>is the way I procrastinate is by working on music

0:04:07.316 --> 0:04:10.716
<v Speaker 3>or writing, or doing some other form of creative expression.

0:04:10.756 --> 0:04:13.516
<v Speaker 3>Like that's also how I procrastinate to get out of

0:04:13.516 --> 0:04:14.756
<v Speaker 3>doing the stuff I don't want to do.

0:04:15.796 --> 0:04:18.596
<v Speaker 2>What do you think is the thing that is powering

0:04:18.996 --> 0:04:23.196
<v Speaker 2>the creative expression? What's the thing that's keeping you interested

0:04:23.476 --> 0:04:24.556
<v Speaker 2>after all these years?

0:04:25.316 --> 0:04:30.356
<v Speaker 3>You know it's I mean, selfishly, it's just it's joy.

0:04:30.956 --> 0:04:36.436
<v Speaker 3>Like it's just the pure emotional satisfaction that I personally

0:04:36.476 --> 0:04:42.116
<v Speaker 3>get from making things. And I mean, I could expand

0:04:42.196 --> 0:04:44.956
<v Speaker 3>on that and say that there's perhaps a more esoteric aspect,

0:04:45.036 --> 0:04:50.116
<v Speaker 3>which is by creating, by making music, by making anything,

0:04:50.116 --> 0:04:53.636
<v Speaker 3>by writing, we are sort of and it's going to

0:04:53.676 --> 0:04:56.796
<v Speaker 3>sound really new, agy but like we're sort of we're

0:04:57.076 --> 0:05:02.556
<v Speaker 3>channeling whatever strange spirit might inhabit the universe, and we're

0:05:02.596 --> 0:05:04.596
<v Speaker 3>also trying to make sense of it, and we're trying

0:05:04.636 --> 0:05:07.636
<v Speaker 3>to share it with other people because maybe in so

0:05:07.796 --> 0:05:10.756
<v Speaker 3>doing we create a better can action with them, and

0:05:10.836 --> 0:05:13.756
<v Speaker 3>also by sharing with other people, it helps the dialectic

0:05:13.836 --> 0:05:18.596
<v Speaker 3>that's contained in that process, we sort of understand everything

0:05:18.676 --> 0:05:23.356
<v Speaker 3>a little bit better, But ultimately it's just the selfish

0:05:23.756 --> 0:05:30.436
<v Speaker 3>joy of making things, and it's almost a compulsion because

0:05:31.396 --> 0:05:34.516
<v Speaker 3>and this might sound really obnoxious, but I don't understand

0:05:34.516 --> 0:05:41.756
<v Speaker 3>how people get through Quotitian life without having creative outlets. Yeah,

0:05:41.796 --> 0:05:46.836
<v Speaker 3>and that's I'm sorry if that sounds really entitled or presumptuous,

0:05:46.836 --> 0:05:49.076
<v Speaker 3>But I look at people's lives. I'm like, how do

0:05:49.116 --> 0:05:51.676
<v Speaker 3>you make sense of the world? How do you like?

0:05:52.196 --> 0:05:54.436
<v Speaker 3>How do you make sense of your life? How do

0:05:54.516 --> 0:05:58.476
<v Speaker 3>you fill your life with even purported meaning? If you're

0:05:58.516 --> 0:05:59.836
<v Speaker 3>not creating something?

0:06:00.596 --> 0:06:03.716
<v Speaker 2>Right, it's interesting that you say that that it comes

0:06:04.156 --> 0:06:09.636
<v Speaker 2>partially from a desire to share things with people. When

0:06:09.756 --> 0:06:13.476
<v Speaker 2>I assumed that part of it was to learn more

0:06:13.476 --> 0:06:17.716
<v Speaker 2>about yourself or make sense of, you know, your experience

0:06:17.996 --> 0:06:20.676
<v Speaker 2>or your thoughts or whatever it is, I thought of

0:06:20.716 --> 0:06:22.796
<v Speaker 2>it more as like an internal search.

0:06:23.636 --> 0:06:25.276
<v Speaker 3>I mean, I assume that that's a part of it,

0:06:25.316 --> 0:06:29.396
<v Speaker 3>but it's the age old thing of you know. Whoever

0:06:29.476 --> 0:06:33.916
<v Speaker 3>the person is the artist, the writer. If I wasn't

0:06:33.956 --> 0:06:36.276
<v Speaker 3>ashamed to use this term, I would say the sort

0:06:36.316 --> 0:06:38.636
<v Speaker 3>of the shaman. I mean, I feel dirty that that

0:06:38.676 --> 0:06:41.916
<v Speaker 3>word even came out of my mouth. But the person

0:06:42.356 --> 0:06:47.196
<v Speaker 3>who goes away has an experience and then comes back

0:06:47.196 --> 0:06:49.196
<v Speaker 3>and wants to share it. And that doesn't speak to

0:06:49.236 --> 0:06:51.716
<v Speaker 3>the quality of the experience, you know, because I'll never

0:06:52.956 --> 0:06:55.476
<v Speaker 3>and I don't mean to be like too self deprecating,

0:06:55.476 --> 0:06:58.116
<v Speaker 3>but I'll never speak to the quality of my work.

0:06:58.236 --> 0:07:00.596
<v Speaker 3>I'll never for a second say that anything I do

0:07:00.716 --> 0:07:03.396
<v Speaker 3>is good. But there's a lot of it, you know,

0:07:03.516 --> 0:07:08.556
<v Speaker 3>and hopefully some of it's good, and hopefully maybe if

0:07:08.596 --> 0:07:11.036
<v Speaker 3>I keep working at it. Like that's the idea, is

0:07:11.076 --> 0:07:13.596
<v Speaker 3>that you wake up every day and you keep working

0:07:13.676 --> 0:07:18.116
<v Speaker 3>in the hope that someday you start to get there.

0:07:18.716 --> 0:07:20.516
<v Speaker 2>Okay, so it's trying to get good.

0:07:20.716 --> 0:07:23.916
<v Speaker 3>Yeah, And the one other aspect of that is like,

0:07:23.956 --> 0:07:26.156
<v Speaker 3>for example, I never take days off. I work seven

0:07:26.236 --> 0:07:29.476
<v Speaker 3>days a week, and I don't take vacations. I don't

0:07:29.476 --> 0:07:34.116
<v Speaker 3>really socialize. I certainly don't date. Because when I'm doing

0:07:34.156 --> 0:07:36.636
<v Speaker 3>any of those things, there's a little part like in

0:07:36.676 --> 0:07:39.756
<v Speaker 3>the back of my head, I'm like, oh, what could

0:07:39.836 --> 0:07:44.116
<v Speaker 3>I have been making, like like by going to this party,

0:07:44.156 --> 0:07:46.596
<v Speaker 3>by going to such like a red carpet event, by

0:07:47.076 --> 0:07:51.156
<v Speaker 3>going on vacation. I'm like, oh, I could have made

0:07:51.196 --> 0:07:55.876
<v Speaker 3>something and it maybe maybe this would have been the

0:07:55.916 --> 0:07:59.556
<v Speaker 3>work of greatness that everything else was leading to. But

0:07:59.796 --> 0:08:03.956
<v Speaker 3>instead I'm at Disney World taking pictures with Mickey.

0:08:04.996 --> 0:08:08.356
<v Speaker 2>What if though, like a comedian, what if that gives

0:08:08.356 --> 0:08:12.076
<v Speaker 2>you material? What if going on you know, out to

0:08:12.076 --> 0:08:13.996
<v Speaker 2>dinner or going to a party, whatever.

0:08:13.716 --> 0:08:15.076
<v Speaker 4>It is a couple hours.

0:08:15.116 --> 0:08:17.236
<v Speaker 2>What if that gives you some sort of new perspective

0:08:17.236 --> 0:08:17.916
<v Speaker 2>and inspiration.

0:08:18.556 --> 0:08:18.716
<v Speaker 4>Oh?

0:08:18.796 --> 0:08:22.396
<v Speaker 3>Absolutely. That used to be the case all the time

0:08:22.436 --> 0:08:24.436
<v Speaker 3>when I was living in New York, going out to

0:08:24.596 --> 0:08:28.876
<v Speaker 3>bars and nightclubs. Yeah, especially pre sobriety, because I would

0:08:28.876 --> 0:08:31.156
<v Speaker 3>go out and I would hear other DJs, and I

0:08:31.156 --> 0:08:33.396
<v Speaker 3>would listen to bands, and I would hear what people

0:08:33.436 --> 0:08:35.316
<v Speaker 3>were doing, and I would come home at two or

0:08:35.316 --> 0:08:37.676
<v Speaker 3>three in the morning inspired and turn on my studio

0:08:38.436 --> 0:08:42.276
<v Speaker 3>and channel that inspiration. So you're absolutely right, I am

0:08:42.396 --> 0:08:47.196
<v Speaker 3>missing out on that that potential for we'll call it

0:08:47.196 --> 0:08:54.076
<v Speaker 3>like real irl inspiration. But the problem there is it's

0:08:54.116 --> 0:08:59.276
<v Speaker 3>a it's a tiny percentage of time that yields that inspiration,

0:09:00.236 --> 0:09:05.836
<v Speaker 3>and more often than not, it's standing around awkwardly holding

0:09:05.876 --> 0:09:11.316
<v Speaker 3>a bottle of carbonated poland spring, smiling inanely while someone

0:09:11.436 --> 0:09:13.756
<v Speaker 3>tells me about a TV show they like, and I'm

0:09:13.756 --> 0:09:17.116
<v Speaker 3>not maligning TV or sparkling poland Spring. I'm just saying,

0:09:17.156 --> 0:09:19.836
<v Speaker 3>like I you know, most of the time, it's kind

0:09:19.836 --> 0:09:20.236
<v Speaker 3>of banell.

0:09:21.516 --> 0:09:22.596
<v Speaker 4>No, that's very true.

0:09:22.756 --> 0:09:24.916
<v Speaker 3>Like one of the greatest gifts anyone can ever give

0:09:24.916 --> 0:09:26.116
<v Speaker 3>me is canceling plans.

0:09:26.836 --> 0:09:29.836
<v Speaker 2>But you're also someone who has done so much, and

0:09:29.916 --> 0:09:33.956
<v Speaker 2>you've been everywhere. You've been a superstar and had everything

0:09:33.996 --> 0:09:36.476
<v Speaker 2>that comes along with that. You know, you've been on

0:09:36.516 --> 0:09:38.836
<v Speaker 2>the top, you've been on the bottom. You've been to

0:09:38.876 --> 0:09:42.076
<v Speaker 2>a million parties, you've been to every club, every concert,

0:09:42.276 --> 0:09:44.996
<v Speaker 2>you've been on stage, you've been in the crowd, so

0:09:45.076 --> 0:09:46.876
<v Speaker 2>you've sort of like experienced it all.

0:09:47.876 --> 0:09:51.236
<v Speaker 3>Yeah, I mean, I guess, you know, being fifty seven

0:09:51.316 --> 0:09:55.316
<v Speaker 3>years old and having had a very varied existence, you know,

0:09:55.396 --> 0:10:01.196
<v Speaker 3>experiencing wealth, experiencing poverty, living in a five level quintuplex

0:10:01.236 --> 0:10:04.116
<v Speaker 3>on Central Park West, but also squatting in an abandoned

0:10:04.156 --> 0:10:10.236
<v Speaker 3>factory in a crack neighborhood. And I love every single

0:10:10.236 --> 0:10:14.516
<v Speaker 3>thing I've experienced because it's given me perspective. And it's

0:10:14.556 --> 0:10:18.876
<v Speaker 3>also like, I think one of the greatest facets of

0:10:19.076 --> 0:10:25.716
<v Speaker 3>experiencing fame is that you can no longer romanticize fame. Yes, yeah,

0:10:25.756 --> 0:10:27.636
<v Speaker 3>we live in a culture, and again, forgive me for

0:10:27.676 --> 0:10:30.356
<v Speaker 3>stating the obvious, but we live in a culture where

0:10:30.556 --> 0:10:34.716
<v Speaker 3>fame is the pinnacle. Everybody wants fame, and if they

0:10:34.716 --> 0:10:37.596
<v Speaker 3>have fame, they want more fame, and it's people are

0:10:37.636 --> 0:10:41.836
<v Speaker 3>obsessed with fame. And I had it, and it's not

0:10:41.996 --> 0:10:45.996
<v Speaker 3>that great. Famous people, as you've probably experienced. Hopefully present

0:10:46.036 --> 0:10:49.236
<v Speaker 3>company may be possibly excluded, but famous people just tend

0:10:49.276 --> 0:10:52.716
<v Speaker 3>to be kind of like, more entitled, less interesting versions

0:10:52.716 --> 0:10:56.156
<v Speaker 3>of our friends. And I've been to you know, famous

0:10:56.196 --> 0:11:00.596
<v Speaker 3>people parties and birthday parties and politician parties, and like,

0:11:01.276 --> 0:11:07.116
<v Speaker 3>I have yet to meet a famous person who is smarter, funnier,

0:11:07.196 --> 0:11:09.796
<v Speaker 3>or more interesting than anybody else I grew up with.

0:11:10.396 --> 0:11:12.596
<v Speaker 2>Do you think that's because of the time in your

0:11:12.596 --> 0:11:14.636
<v Speaker 2>life when you met the people you grew up with,

0:11:15.156 --> 0:11:17.996
<v Speaker 2>Since those people sort of mold us, they're like our

0:11:18.116 --> 0:11:20.476
<v Speaker 2>archetypes in a lot of ways.

0:11:20.196 --> 0:11:22.916
<v Speaker 3>Except that I'm still largely in touch with most of

0:11:22.916 --> 0:11:27.516
<v Speaker 3>those people, and they still are, Like, my friends are

0:11:27.836 --> 0:11:32.916
<v Speaker 3>so much funnier and more interesting and more engaging and

0:11:32.956 --> 0:11:37.196
<v Speaker 3>more curious and less entitled than any of the famous

0:11:37.236 --> 0:11:39.516
<v Speaker 3>people I've ever met. And I've met I don't want

0:11:39.556 --> 0:11:41.156
<v Speaker 3>to malign any of the famous people I've met, like

0:11:41.156 --> 0:11:45.116
<v Speaker 3>they're all fine, but they don't really offer that much,

0:11:45.236 --> 0:11:49.236
<v Speaker 3>Like there is that, And I assume you've experienced this

0:11:49.276 --> 0:11:51.996
<v Speaker 3>as well, like with real like the big famous people,

0:11:52.116 --> 0:11:55.436
<v Speaker 3>like they do kind of feel like ninety percent of

0:11:55.476 --> 0:11:59.476
<v Speaker 3>the time them just showing up is enough. Yeah, And

0:11:59.556 --> 0:12:02.116
<v Speaker 3>the truth is, for most people it is like if

0:12:02.156 --> 0:12:05.196
<v Speaker 3>you're Brad Pitt, you don't really need to be the

0:12:05.196 --> 0:12:07.916
<v Speaker 3>greatest conversationalists in the world because if you show up,

0:12:07.996 --> 0:12:10.676
<v Speaker 3>the room comes to a halt. So I will say

0:12:10.676 --> 0:12:13.036
<v Speaker 3>that about fame, like I'm so glad I've experienced it,

0:12:13.036 --> 0:12:15.756
<v Speaker 3>because one, I also appreciate that it's given me a

0:12:15.796 --> 0:12:20.316
<v Speaker 3>platform to address issues that I care about. But also

0:12:20.876 --> 0:12:25.036
<v Speaker 3>it makes it so easy to not fetishize fame when

0:12:25.036 --> 0:12:27.316
<v Speaker 3>you've seen it up close.

0:12:27.516 --> 0:12:29.396
<v Speaker 2>And it's something that you really do a good job

0:12:29.396 --> 0:12:34.396
<v Speaker 2>in your memoirs of breaking that facade. And you know,

0:12:34.276 --> 0:12:36.636
<v Speaker 2>you thought you would feel a certain way when you

0:12:36.676 --> 0:12:39.916
<v Speaker 2>became famous or you had success, and you sounds like

0:12:39.956 --> 0:12:41.396
<v Speaker 2>you even felt worse.

0:12:41.996 --> 0:12:47.876
<v Speaker 3>Oh considerably worse. Because sorry to sound like a grad student,

0:12:48.156 --> 0:12:54.756
<v Speaker 3>but like everything does have an existential subtext or an

0:12:54.756 --> 0:12:58.356
<v Speaker 3>existential context. And what I mean by that is the

0:12:58.476 --> 0:13:05.316
<v Speaker 3>human condition is terrifying, baffling, and at times kind of horrifying.

0:13:05.436 --> 0:13:09.716
<v Speaker 3>Like best case scenario, you get old and die of

0:13:09.956 --> 0:13:14.356
<v Speaker 3>sad diseases, you know. And I was just reading about

0:13:14.876 --> 0:13:19.316
<v Speaker 3>how astronomers have discovered a super massive black hole. It's

0:13:19.356 --> 0:13:22.556
<v Speaker 3>relatively nearby, and it's as big as one hundred and

0:13:22.556 --> 0:13:26.996
<v Speaker 3>twenty billion of our sons And that's just one black

0:13:27.036 --> 0:13:29.556
<v Speaker 3>hole out of trillions. And you put it in perspective

0:13:29.556 --> 0:13:32.556
<v Speaker 3>and you're like, oh, so, here are these humans, these scared,

0:13:32.796 --> 0:13:38.716
<v Speaker 3>little hairless, vicious monkeys, pretending that our lives have significance,

0:13:38.836 --> 0:13:42.436
<v Speaker 3>pretending our lives have meaning. And maybe they do. I'm

0:13:42.436 --> 0:13:45.596
<v Speaker 3>not saying our lives don't have significance or meaning, but

0:13:46.116 --> 0:13:48.476
<v Speaker 3>there's a good chance the significance and meaning of our

0:13:48.516 --> 0:13:51.756
<v Speaker 3>lives is not what we imagine it to be. It's

0:13:51.756 --> 0:13:57.116
<v Speaker 3>certainly not material. So to that point of the existential

0:13:57.156 --> 0:14:00.916
<v Speaker 3>subtext of fame is like, as we experience every time

0:14:00.996 --> 0:14:03.596
<v Speaker 3>we look at the world around us, everyone's trying to

0:14:03.756 --> 0:14:07.196
<v Speaker 3>exempt themselves from the human condition, or they're trying to

0:14:07.276 --> 0:14:10.676
<v Speaker 3>win the human condition. And it's thinking that you could

0:14:10.716 --> 0:14:17.236
<v Speaker 3>either accomplish that with fame, with money, with beauty, with accolades,

0:14:17.876 --> 0:14:22.476
<v Speaker 3>with intelligence, even with cynicism, with drugs, with alcohol. It's

0:14:22.636 --> 0:14:27.676
<v Speaker 3>it's all this attempt to somehow circumvent and conquer the

0:14:27.756 --> 0:14:32.116
<v Speaker 3>human condition. And the reason I wrote those two memoirs

0:14:32.276 --> 0:14:35.956
<v Speaker 3>is because that's what I kept trying to do, you know,

0:14:36.316 --> 0:14:38.836
<v Speaker 3>to be like, Okay, when do you win, Like when,

0:14:39.036 --> 0:14:44.436
<v Speaker 3>like at what point do you you know, accomplish enough,

0:14:44.636 --> 0:14:48.436
<v Speaker 3>like whether through fame, materialism, accolades, what have you? When

0:14:48.476 --> 0:14:53.636
<v Speaker 3>do you feel like you have finally, Like Ahab conquered

0:14:53.796 --> 0:14:56.716
<v Speaker 3>Moby Dick. And there's a reason why I love my name,

0:14:56.836 --> 0:14:59.796
<v Speaker 3>which I didn't give myself, but is at the end,

0:14:59.996 --> 0:15:04.716
<v Speaker 3>Ahab is trying to conquer the unknowable, vast universe, and

0:15:04.756 --> 0:15:08.476
<v Speaker 3>of course he's destroyed by it. It's like if the

0:15:08.596 --> 0:15:12.116
<v Speaker 3>universe Las Vegas, the house always wins, like we as

0:15:12.236 --> 0:15:17.756
<v Speaker 3>humans can never win the existential conquest, and so the

0:15:17.796 --> 0:15:20.836
<v Speaker 3>only thing is to step back and have compassion for

0:15:20.876 --> 0:15:23.916
<v Speaker 3>ourselves and for the other people who are struggling through

0:15:23.916 --> 0:15:27.996
<v Speaker 3>the confusion of the human condition, and to learn from

0:15:27.996 --> 0:15:33.196
<v Speaker 3>it and hopefully have a little bit of observational maybe bemusement.

0:15:33.316 --> 0:15:36.556
<v Speaker 3>At least, this is after years of trying to beat

0:15:36.556 --> 0:15:38.876
<v Speaker 3>the human condition with so many different ways. This is

0:15:38.996 --> 0:15:41.556
<v Speaker 3>at least what I've come up with at this point.

0:15:41.596 --> 0:15:44.036
<v Speaker 3>It could be I'm completely mistaken and the way to

0:15:44.076 --> 0:15:46.236
<v Speaker 3>win the human condition is to go to Reno and

0:15:46.236 --> 0:15:48.396
<v Speaker 3>get hair plugs and get married to a stripper. I

0:15:48.436 --> 0:15:49.036
<v Speaker 3>have no idea.

0:15:49.876 --> 0:15:53.716
<v Speaker 2>What about money though, just you know, fame aside as

0:15:53.716 --> 0:15:57.356
<v Speaker 2>somebody who grew up with very little in poverty. You

0:15:57.396 --> 0:16:00.596
<v Speaker 2>talk about that a lot in your memoirs. What about

0:16:00.596 --> 0:16:02.596
<v Speaker 2>the point when all of a sudden you have money.

0:16:03.116 --> 0:16:05.236
<v Speaker 2>I mean, as someone who doesn't have a lot of money,

0:16:05.276 --> 0:16:08.676
<v Speaker 2>I don't. I feel like there are legitimate problems that

0:16:08.916 --> 0:16:12.836
<v Speaker 2>have money can solve. Oh, and it could buy happiness

0:16:12.876 --> 0:16:15.116
<v Speaker 2>in a way like it can buy some happiness.

0:16:15.436 --> 0:16:18.236
<v Speaker 3>I mean, if it did buy happiness, then Kanye and

0:16:18.276 --> 0:16:20.956
<v Speaker 3>Elon and Trump would be the happiest people on the planet.

0:16:21.316 --> 0:16:24.316
<v Speaker 3>And they are mentally ill lunatics. So what I will

0:16:24.356 --> 0:16:28.796
<v Speaker 3>say is having money, having a degree of money is

0:16:29.076 --> 0:16:32.716
<v Speaker 3>great when you're able to like pay the rent, or

0:16:33.116 --> 0:16:36.076
<v Speaker 3>you know, buy blueberries out of season, or take your

0:16:36.076 --> 0:16:39.036
<v Speaker 3>friends out to dinner and not worry about picking up

0:16:39.076 --> 0:16:42.396
<v Speaker 3>the tab like to be able to, you know, go

0:16:42.476 --> 0:16:45.476
<v Speaker 3>to a good dentist who maybe doesn't accept health insurance.

0:16:45.516 --> 0:16:51.316
<v Speaker 3>Like money, the practical application of financial security or financial

0:16:51.316 --> 0:16:55.836
<v Speaker 3>stability is great, and no one could pretend otherwise the

0:16:55.916 --> 0:16:59.196
<v Speaker 3>problem is going back to that idea of conquering the

0:16:59.276 --> 0:17:02.956
<v Speaker 3>human condition. Is like when people expect money to enable

0:17:02.996 --> 0:17:06.436
<v Speaker 3>you to transcend the human condition, that's when you end

0:17:06.516 --> 0:17:09.796
<v Speaker 3>up in the White White House, eating hamberg or screaming

0:17:09.836 --> 0:17:12.716
<v Speaker 3>at the television. You know, that's when you're elon on

0:17:12.756 --> 0:17:18.316
<v Speaker 3>a private plane, microdosing acid and posting on Twitter eight

0:17:18.396 --> 0:17:21.796
<v Speaker 3>hundred times a day about right wing conspiracy theories. Like

0:17:21.876 --> 0:17:26.676
<v Speaker 3>money is great for practical reasons, but beyond that, and

0:17:26.956 --> 0:17:29.396
<v Speaker 3>the evidence is everywhere if we're willing to look at it,

0:17:29.556 --> 0:17:33.196
<v Speaker 3>beyond practical application, money doesn't fix anything.

0:17:33.956 --> 0:17:34.876
<v Speaker 4>That's very true.

0:17:35.356 --> 0:17:37.596
<v Speaker 2>Just seems like when you're when you don't have a

0:17:37.596 --> 0:17:39.716
<v Speaker 2>lot of it, all problems, you know, do come back

0:17:39.716 --> 0:17:40.196
<v Speaker 2>to money.

0:17:40.836 --> 0:17:44.116
<v Speaker 3>Yeah. I mean it's tricky because because I grew up

0:17:44.236 --> 0:17:47.716
<v Speaker 3>very poor, everyone in my family was very poor. The

0:17:47.756 --> 0:17:50.036
<v Speaker 3>weird thing, when I was growing up poor, there was

0:17:50.076 --> 0:17:53.076
<v Speaker 3>almost never talk of money. Like my aunts, my uncles,

0:17:53.116 --> 0:17:57.116
<v Speaker 3>my mom, all their friends, like everybody was like working

0:17:57.196 --> 0:18:03.116
<v Speaker 3>New England poor, being a sculptor, being a painter, but

0:18:03.796 --> 0:18:07.476
<v Speaker 3>never making more than minimum wage. And the weird thing,

0:18:08.156 --> 0:18:11.076
<v Speaker 3>no one ever complained. And of course there was talk

0:18:11.116 --> 0:18:13.596
<v Speaker 3>of like, oh, you know, I need to get snow

0:18:13.636 --> 0:18:16.396
<v Speaker 3>tires from my car and I can't afford it. Winter's

0:18:16.396 --> 0:18:18.436
<v Speaker 3>coming up. We need to go get winter jackets, so

0:18:18.476 --> 0:18:20.676
<v Speaker 3>we're going to Salvation Army or Goodwill. But I was

0:18:20.716 --> 0:18:23.316
<v Speaker 3>just like we all just sort of accepted it. So

0:18:24.276 --> 0:18:27.236
<v Speaker 3>when I left home and I was as broke as

0:18:27.396 --> 0:18:30.436
<v Speaker 3>anybody I know has ever been. I was living in

0:18:30.476 --> 0:18:34.316
<v Speaker 3>an abandoned factory, making on average two thousand dollars a year.

0:18:34.396 --> 0:18:37.076
<v Speaker 3>I didn't have running water, but it was okay. I

0:18:37.116 --> 0:18:39.516
<v Speaker 3>was like, man, that's okay. I don't necessarily want to

0:18:39.516 --> 0:18:42.716
<v Speaker 3>go back to it. But the strange thing, and I

0:18:42.756 --> 0:18:49.156
<v Speaker 3>know this might sound like cliched public figure, relatively affluent narrative,

0:18:49.276 --> 0:18:52.716
<v Speaker 3>but like, I was way happier with my friends in

0:18:52.796 --> 0:18:55.316
<v Speaker 3>the abandoned factory when I was making two thousand dollars

0:18:55.356 --> 0:18:59.076
<v Speaker 3>a year, then by myself in a quintuplex on Central

0:18:59.116 --> 0:19:01.716
<v Speaker 3>Park West, bottoming out as a drug addict.

0:19:02.436 --> 0:19:04.436
<v Speaker 2>Yeah, And then I read also that when you bought

0:19:04.516 --> 0:19:08.076
<v Speaker 2>the castle in La you at a certain point moved

0:19:08.076 --> 0:19:09.876
<v Speaker 2>into a closet and just slept in there.

0:19:10.556 --> 0:19:12.676
<v Speaker 3>Oh well, actually the closet. I have slept in a

0:19:12.716 --> 0:19:15.636
<v Speaker 3>lot of closets, but the closet was. I had this

0:19:15.956 --> 0:19:20.596
<v Speaker 3>crazy compound upstate in Kent, New York. It's in Putnam County,

0:19:21.556 --> 0:19:27.476
<v Speaker 3>and it was my sort of degenerate Sylvan country party pad.

0:19:27.556 --> 0:19:29.956
<v Speaker 3>And it was great for that. It had a disco.

0:19:30.196 --> 0:19:33.756
<v Speaker 3>It was sixty acres adjacent to three hundred acre state park.

0:19:34.436 --> 0:19:39.956
<v Speaker 3>It was a phenomenal party palace. And I built this

0:19:40.076 --> 0:19:42.876
<v Speaker 3>bedroom that was roughly as big as the house I

0:19:42.916 --> 0:19:46.356
<v Speaker 3>grew up in, this massive, you know, huge bedroom you

0:19:46.396 --> 0:19:49.876
<v Speaker 3>could like land an airplane in. But I couldn't sleep

0:19:49.876 --> 0:19:51.596
<v Speaker 3>in it. It was too big, and it was too bright

0:19:51.596 --> 0:19:53.836
<v Speaker 3>because I had so much all these skylights and all

0:19:53.836 --> 0:19:56.396
<v Speaker 3>this glass, and so I dragged my futon into the

0:19:56.396 --> 0:19:58.476
<v Speaker 3>walk in closet and I had to sleep in the closet.

0:19:59.476 --> 0:20:01.036
<v Speaker 4>How long was that place fun for?

0:20:02.076 --> 0:20:04.956
<v Speaker 3>I mean, it was the most fun place in the world.

0:20:05.476 --> 0:20:09.156
<v Speaker 3>At one am before I got sober, you know, and

0:20:09.196 --> 0:20:12.636
<v Speaker 3>I had thirty people come up from New York, and

0:20:12.756 --> 0:20:15.556
<v Speaker 3>there was the disco. There was a spa there. I mean,

0:20:15.596 --> 0:20:20.796
<v Speaker 3>it was really flawless when it came to one am, drunken,

0:20:20.876 --> 0:20:24.596
<v Speaker 3>drug fueled debauchery eight o'clock in the morning, when the

0:20:24.636 --> 0:20:27.556
<v Speaker 3>sun came up and you felt like throwing up, and

0:20:27.916 --> 0:20:30.756
<v Speaker 3>you realized that the hot tub in the spa was

0:20:31.356 --> 0:20:34.956
<v Speaker 3>the color and consistency of split pea soup. And that's

0:20:34.956 --> 0:20:38.516
<v Speaker 3>when you realize, oh, that's right. No matter how much

0:20:38.596 --> 0:20:44.076
<v Speaker 3>fun one am is, you can't avoid the eight am,

0:20:44.196 --> 0:20:45.316
<v Speaker 3>dark morning of the soul.

0:20:46.036 --> 0:20:47.956
<v Speaker 2>Just thinking back on that period of your life, is

0:20:47.956 --> 0:20:50.516
<v Speaker 2>there anyone that you keep in touch with from those days?

0:20:51.396 --> 0:20:55.276
<v Speaker 3>Yeah? My actually, my girlfriend from that time. She and

0:20:55.276 --> 0:20:57.476
<v Speaker 3>I are still really good friends. Like a lot of

0:20:57.476 --> 0:21:01.876
<v Speaker 3>people from then I haven't stayed in that much touch

0:21:01.916 --> 0:21:04.956
<v Speaker 3>with because some of them are like still out trying

0:21:04.996 --> 0:21:10.156
<v Speaker 3>to live the dream, and you know, people who've moved

0:21:10.156 --> 0:21:15.476
<v Speaker 3>to Miami and are really exploring where cocaine addiction can

0:21:15.516 --> 0:21:18.516
<v Speaker 3>take you, Like it's kind of hard to stay friends

0:21:18.556 --> 0:21:20.956
<v Speaker 3>with them. But like the people who've gotten sober, the

0:21:20.956 --> 0:21:24.156
<v Speaker 3>people who sort of aged out of it, like some

0:21:24.316 --> 0:21:28.716
<v Speaker 3>of my good friends definitely are in the same boat

0:21:28.756 --> 0:21:34.036
<v Speaker 3>as me. Is, like we emerged relatively unscathed, where you know,

0:21:34.076 --> 0:21:39.076
<v Speaker 3>we can be old people who meet up and drink

0:21:39.116 --> 0:21:41.916
<v Speaker 3>smoothies and talk about what it used to be like

0:21:42.196 --> 0:21:45.276
<v Speaker 3>to gobble xanax and vic it in at nine o'clock

0:21:45.316 --> 0:21:47.596
<v Speaker 3>in the morning just to try and fall asleep after

0:21:47.636 --> 0:21:48.676
<v Speaker 3>doing so much cocaine.

0:21:49.396 --> 0:21:52.916
<v Speaker 2>Yeah, when you meet people or when you're recognized on

0:21:52.916 --> 0:21:55.716
<v Speaker 2>the street, people come up and talk to you. Is

0:21:55.756 --> 0:21:59.916
<v Speaker 2>there something that people ask you about that surprises you.

0:22:00.596 --> 0:22:04.836
<v Speaker 3>I mean one of the main things that I've been

0:22:04.916 --> 0:22:10.196
<v Speaker 3>asked lately is, you know, when I earned fifty I

0:22:10.236 --> 0:22:15.516
<v Speaker 3>started getting vegan tattoos on my body, And so that's

0:22:15.636 --> 0:22:19.076
<v Speaker 3>the main question. And it's not really even me being recognized.

0:22:19.156 --> 0:22:22.156
<v Speaker 3>It's just random people saying, hey, why do you have

0:22:22.276 --> 0:22:24.076
<v Speaker 3>Vegan for Life tattooed on your neck? Why do you

0:22:24.076 --> 0:22:26.516
<v Speaker 3>have animal rights tattooed on your arms? So I guess

0:22:26.516 --> 0:22:29.276
<v Speaker 3>that's not there's nothing surprising about that, because when you

0:22:29.396 --> 0:22:33.516
<v Speaker 3>have giant letters tattooed on your body, it's not surprising

0:22:33.556 --> 0:22:35.036
<v Speaker 3>that people would ask you about it.

0:22:35.396 --> 0:22:37.876
<v Speaker 2>Right, Yeah, do you wish that you got them like

0:22:37.996 --> 0:22:40.836
<v Speaker 2>thirty years ago? Especially in the hardcore scene, in the

0:22:40.836 --> 0:22:41.756
<v Speaker 2>punk rock scene.

0:22:42.236 --> 0:22:46.076
<v Speaker 3>Well, so here's the thing in nineteen ninety five, I

0:22:46.236 --> 0:22:49.916
<v Speaker 3>had my sort of we'll call it like my big

0:22:49.956 --> 0:22:53.636
<v Speaker 3>alternative music year, and I went on tour with the

0:22:53.716 --> 0:22:57.436
<v Speaker 3>Chili Peppers and the Flaming Lips and I did Lollapalooza

0:22:58.036 --> 0:23:02.236
<v Speaker 3>with Sonic Youth and Beck and Pavement and my album

0:23:02.236 --> 0:23:05.036
<v Speaker 3>in nineteen ninety five, Everything is Wrong with Spin's Album

0:23:05.076 --> 0:23:07.756
<v Speaker 3>of the Year, and like it was like this big

0:23:08.596 --> 0:23:11.636
<v Speaker 3>indie year for me, because before that I'd just been

0:23:11.716 --> 0:23:15.756
<v Speaker 3>like a sort of shy, retiring nerdy I was still

0:23:15.756 --> 0:23:18.156
<v Speaker 3>a shy, retiring, nerdy techno guy. But suddenly I was

0:23:18.196 --> 0:23:21.156
<v Speaker 3>on tour with the Chili Peppers, and everybody in the

0:23:21.196 --> 0:23:23.236
<v Speaker 3>Chili Peppers and in their band and crew they all

0:23:23.236 --> 0:23:27.836
<v Speaker 3>had tattoos, and I wanted to get tattoos. And what

0:23:27.956 --> 0:23:31.996
<v Speaker 3>I really wanted to get were those tribal tattoos that

0:23:32.156 --> 0:23:36.596
<v Speaker 3>bouncers at strip clubs have totally and so I'm there.

0:23:36.796 --> 0:23:39.596
<v Speaker 3>So to your point, I'm thrilled that I did not

0:23:39.716 --> 0:23:43.236
<v Speaker 3>get tattoos back then, because if I had, I would

0:23:43.276 --> 0:23:47.076
<v Speaker 3>be one of those middle aged guys with faded tribal tattoos,

0:23:47.156 --> 0:23:49.316
<v Speaker 3>which on some people it can be a good look,

0:23:49.356 --> 0:23:52.076
<v Speaker 3>but it would not like as my old skin starts

0:23:52.116 --> 0:23:55.156
<v Speaker 3>to sag. It would definitely not be all that attractive.

0:23:56.036 --> 0:23:57.676
<v Speaker 1>We have to take a quick break and then we'll

0:23:57.676 --> 0:24:04.596
<v Speaker 1>be back with more from Lea Rose and Moby. We're

0:24:04.596 --> 0:24:06.836
<v Speaker 1>back with Moby and Lea Rose.

0:24:07.716 --> 0:24:10.836
<v Speaker 2>In your movie and punk Rock Vegan Movie. It was

0:24:10.916 --> 0:24:14.876
<v Speaker 2>really interesting that you made the connection between punk rock

0:24:14.916 --> 0:24:17.316
<v Speaker 2>and compassion, because I think for a lot of people

0:24:17.316 --> 0:24:20.116
<v Speaker 2>when they think of punk rock, they think of skepticism

0:24:20.316 --> 0:24:24.636
<v Speaker 2>and like middle Finger to the establishment. It's not usually compassion.

0:24:24.876 --> 0:24:28.156
<v Speaker 2>That's one of the first ideas that is equated with

0:24:28.196 --> 0:24:30.956
<v Speaker 2>punk rock, and you really made that point very beautifully.

0:24:31.356 --> 0:24:35.276
<v Speaker 2>Can you talk about when you discovered that compassion was

0:24:35.396 --> 0:24:37.956
<v Speaker 2>a part of that scene, well.

0:24:37.836 --> 0:24:40.996
<v Speaker 3>Part of it. I remember my first exposure to the

0:24:40.996 --> 0:24:44.156
<v Speaker 3>world of punk rock and veganism was in nineteen eighty two.

0:24:45.356 --> 0:24:47.756
<v Speaker 3>My band the Vatican Commandos, with a whole bunch of

0:24:47.756 --> 0:24:51.756
<v Speaker 3>other Connecticut hardcore bands, we drove to Akron, Ohio to

0:24:51.796 --> 0:24:54.556
<v Speaker 3>play a show in a pizza parlor. It's like a

0:24:54.596 --> 0:24:58.956
<v Speaker 3>twelve hour drive. There were more people in the bands

0:24:58.996 --> 0:25:01.716
<v Speaker 3>than were in the audience at the pizza parlor, but

0:25:02.276 --> 0:25:05.036
<v Speaker 3>we slept on the floor of what turned out to

0:25:05.076 --> 0:25:09.796
<v Speaker 3>be a vegan squat. And I remember so clearly waking

0:25:09.876 --> 0:25:12.756
<v Speaker 3>up on the floor of this squat and I didn't

0:25:12.756 --> 0:25:14.596
<v Speaker 3>even know what a squat was. I was a fifteen

0:25:14.716 --> 0:25:18.436
<v Speaker 3>year old suburban kid, and this guy was a blue

0:25:18.476 --> 0:25:21.556
<v Speaker 3>mohawk walked into the living room of the squat and said, hey,

0:25:22.076 --> 0:25:25.476
<v Speaker 3>welcome to Akron. We made lentils. And I didn't know

0:25:25.516 --> 0:25:28.036
<v Speaker 3>what a lentil was, and he said, yeah, this is

0:25:28.036 --> 0:25:31.116
<v Speaker 3>a vegan squat, you know, welcome. You're all welcome. And

0:25:31.156 --> 0:25:33.596
<v Speaker 3>I'd never heard the word vegan before because I was

0:25:33.596 --> 0:25:38.116
<v Speaker 3>a McDonald's eating kid, and I thought this was so

0:25:38.356 --> 0:25:43.236
<v Speaker 3>weird that, like these punk rockers ate beans. Lo and Behold.

0:25:43.236 --> 0:25:45.956
<v Speaker 3>Two years later, I became a vegetarian and nineteen eighty

0:25:45.996 --> 0:25:51.316
<v Speaker 3>seven became a vegan. And my understanding in the eighties

0:25:51.396 --> 0:25:54.516
<v Speaker 3>when I became a vegetarian and a vegan, the vegan

0:25:54.556 --> 0:25:57.876
<v Speaker 3>world was weird punk rockers. You know, there were a

0:25:57.876 --> 0:26:00.716
<v Speaker 3>few hippies, but for the most part it was you know,

0:26:01.076 --> 0:26:04.996
<v Speaker 3>Youth of Today and Gorilla Biscuits and the Cromags and

0:26:05.236 --> 0:26:11.396
<v Speaker 3>you know SIV so I had. I've always associated veganism

0:26:11.436 --> 0:26:13.636
<v Speaker 3>with punk rock, and then Lo and Behold, it turns

0:26:13.676 --> 0:26:17.436
<v Speaker 3>out most people weren't aware of that relationship, and the

0:26:17.516 --> 0:26:23.516
<v Speaker 3>compassionate side is so easy to miss. Yeah, I brought

0:26:23.596 --> 0:26:25.836
<v Speaker 3>some friends. I think it was like a Youth of

0:26:25.876 --> 0:26:29.396
<v Speaker 3>Today show, maybe H two O were on the bill,

0:26:30.396 --> 0:26:33.796
<v Speaker 3>these straight edge vegan bands, and I brought some friends

0:26:33.796 --> 0:26:35.796
<v Speaker 3>to the show. And my friends were horrified because they'd

0:26:35.796 --> 0:26:40.476
<v Speaker 3>never been to a hardcore show before, and they were

0:26:40.596 --> 0:26:44.916
<v Speaker 3>genuinely taken aback, like it was so loud and screaming

0:26:44.996 --> 0:26:48.236
<v Speaker 3>and stage diving, and I tried to tell my friends.

0:26:48.276 --> 0:26:50.796
<v Speaker 3>I was like, no, those musicians are the most principled,

0:26:50.796 --> 0:26:55.796
<v Speaker 3>ethical musicians I've ever met. And the lyrics are all about,

0:26:55.916 --> 0:26:58.636
<v Speaker 3>you know, supporting your community and doing the right thing,

0:26:58.796 --> 0:27:03.516
<v Speaker 3>and it's almost like nineteen fifties cliches about straight edge,

0:27:03.796 --> 0:27:06.596
<v Speaker 3>you know, about like clean living. But my friends were like, no,

0:27:06.636 --> 0:27:08.476
<v Speaker 3>they're just screaming and jumping off the stage. So I

0:27:08.556 --> 0:27:12.916
<v Speaker 3>understand how it's very hard to get past the screaming

0:27:12.956 --> 0:27:15.436
<v Speaker 3>and the stage diving to realize that, like a use

0:27:15.436 --> 0:27:20.756
<v Speaker 3>of Today lyric is like beautiful and extolling and exalting

0:27:20.836 --> 0:27:22.116
<v Speaker 3>the virtue of compassion.

0:27:22.796 --> 0:27:26.436
<v Speaker 2>Yeah, and it's funny with the vegan in the community

0:27:26.476 --> 0:27:28.956
<v Speaker 2>and squats and stuff like that. I always associated that

0:27:29.116 --> 0:27:32.716
<v Speaker 2>more with hippies and jam bands and that type of

0:27:32.756 --> 0:27:36.836
<v Speaker 2>lifestyle and the connection between punk rock and maybe that

0:27:36.956 --> 0:27:42.676
<v Speaker 2>hippie scene, other than maybe veganism vegetarianism. And I realize

0:27:42.716 --> 0:27:44.956
<v Speaker 2>this watching your movie is a Hari Krishnas. It's like

0:27:45.036 --> 0:27:46.716
<v Speaker 2>they were showing up everywhere.

0:27:47.236 --> 0:27:49.716
<v Speaker 3>I mean, yeah, use it today with you know, Ray

0:27:49.836 --> 0:27:53.276
<v Speaker 3>and Purcell and the Cromags and then Shelter. There was

0:27:53.316 --> 0:27:57.516
<v Speaker 3>a lot like the Krishna connection, especially in the East

0:27:57.556 --> 0:28:00.796
<v Speaker 3>Village in the eighties. You know, you had prana foods.

0:28:01.436 --> 0:28:04.796
<v Speaker 3>The word prana, I believe is Sanskrit for life, for

0:28:04.996 --> 0:28:09.516
<v Speaker 3>us or breath. So yeah, there was definitely And I

0:28:09.516 --> 0:28:13.676
<v Speaker 3>don't know anything about Krishna or I've never read the

0:28:13.716 --> 0:28:17.236
<v Speaker 3>bog of Adgita. My friend Eddie and Mike Dee are

0:28:17.356 --> 0:28:21.036
<v Speaker 3>very much into the Hindu yoga world. I don't know

0:28:21.196 --> 0:28:25.116
<v Speaker 3>anything about it, but that definitely was a fertile ground

0:28:25.276 --> 0:28:28.996
<v Speaker 3>for getting people like John Joseph from the Chromags and

0:28:29.596 --> 0:28:36.356
<v Speaker 3>Ray and Purcell and some other people interested in yeah, philosophical,

0:28:36.716 --> 0:28:42.516
<v Speaker 3>compassionate living. And I don't know, Yeah, honestly, without that encouragement,

0:28:42.556 --> 0:28:46.716
<v Speaker 3>it's possible that the punk rock vegan connection wouldn't have

0:28:46.836 --> 0:28:48.036
<v Speaker 3>been as strong.

0:28:48.436 --> 0:28:51.556
<v Speaker 2>Yeah, because I remember seeing them in like Washington Square

0:28:51.596 --> 0:28:54.116
<v Speaker 2>Park or you know. I used to live on First

0:28:54.116 --> 0:28:56.036
<v Speaker 2>and First and there was some sort of like Krishna

0:28:56.116 --> 0:28:59.196
<v Speaker 2>temple right there, like near East Village Radio.

0:28:59.716 --> 0:29:02.356
<v Speaker 3>Oh yeah, that's where I got sober. Really, when I

0:29:02.396 --> 0:29:05.756
<v Speaker 3>say that's where I got sober, I mean literally specifically

0:29:05.796 --> 0:29:08.316
<v Speaker 3>in that building. There was an AA meeting on the

0:29:08.396 --> 0:29:12.956
<v Speaker 3>third floor of that temple. And so when I finally

0:29:12.996 --> 0:29:15.236
<v Speaker 3>bottomed out as an alcoholic and a drug addict, I

0:29:15.316 --> 0:29:18.916
<v Speaker 3>went to the one PM Living Now AA meeting and

0:29:18.956 --> 0:29:22.836
<v Speaker 3>it was non denomination on, nothing to do with Krishna

0:29:22.916 --> 0:29:25.876
<v Speaker 3>or Krishna Murti or you know, any of the people

0:29:25.876 --> 0:29:29.636
<v Speaker 3>they venerated, but it was every day for about two

0:29:29.716 --> 0:29:31.716
<v Speaker 3>years I went to that temple and had to take

0:29:31.756 --> 0:29:34.836
<v Speaker 3>off my shoes and sit to go to this AA meeting.

0:29:35.876 --> 0:29:39.476
<v Speaker 2>Was there any feeling of I don't belong here, Well.

0:29:39.316 --> 0:29:42.516
<v Speaker 3>That's funny. I've gone to some twelve Step groups that

0:29:42.636 --> 0:29:45.676
<v Speaker 3>I don't belong in because there's so many different types

0:29:45.716 --> 0:29:47.716
<v Speaker 3>of twelve Step groups and some of which I just

0:29:47.836 --> 0:29:51.556
<v Speaker 3>I don't identify as being a part of them. But

0:29:51.636 --> 0:29:55.316
<v Speaker 3>when I went to AA it was a puzzle piece.

0:29:55.356 --> 0:29:57.276
<v Speaker 3>It was the Rosetta stone, it was you know. I

0:29:57.316 --> 0:30:00.796
<v Speaker 3>was like, oh, yep, because from the first drink I had,

0:30:01.356 --> 0:30:03.716
<v Speaker 3>I kind of knew I was an alcoholic. I had

0:30:03.756 --> 0:30:07.276
<v Speaker 3>never once in my life drank in moderation. My father

0:30:07.476 --> 0:30:12.436
<v Speaker 3>killed himself drunk every everybody. My grandfather drank every day

0:30:12.476 --> 0:30:16.076
<v Speaker 3>of his life. Like, I don't remember being around sober

0:30:16.676 --> 0:30:20.756
<v Speaker 3>adults until I was maybe in my twenties. So, you know,

0:30:20.796 --> 0:30:24.316
<v Speaker 3>when I finally really sat down in a you know,

0:30:24.356 --> 0:30:27.956
<v Speaker 3>at that living now meeting where you used to live,

0:30:28.516 --> 0:30:30.796
<v Speaker 3>I was like, yep, this is me. I wish it wasn't.

0:30:30.836 --> 0:30:32.356
<v Speaker 3>I wish I wasn't. I wish it was a way

0:30:32.396 --> 0:30:34.156
<v Speaker 3>around this. I wish there was a way I could

0:30:34.276 --> 0:30:38.076
<v Speaker 3>keep drinking and doing drugs and not body me out.

0:30:38.076 --> 0:30:40.316
<v Speaker 3>But I was like, no, the last twenty years have

0:30:40.436 --> 0:30:43.276
<v Speaker 3>proven to me just I'm just an old timey alcoholic.

0:30:43.796 --> 0:30:46.796
<v Speaker 2>But that feeling of finding a puzzle piece must just

0:30:46.996 --> 0:30:48.716
<v Speaker 2>be incredible.

0:30:49.636 --> 0:30:52.716
<v Speaker 3>It's terrible when that puzzle piece means you can no

0:30:52.796 --> 0:30:57.636
<v Speaker 3>longer go out and be a drunk, you know, Like,

0:30:58.476 --> 0:31:01.276
<v Speaker 3>in some ways I'm glad because there's no wiggle room. Like,

0:31:01.556 --> 0:31:03.116
<v Speaker 3>I know a lot of people, as I'm sure you

0:31:03.196 --> 0:31:06.956
<v Speaker 3>do as well, who spend years trying to figure out

0:31:07.076 --> 0:31:10.716
<v Speaker 3>if they're an alcoholic, a drug addict, or an addict

0:31:10.796 --> 0:31:14.396
<v Speaker 3>of some sort. So there's there's something nice in having

0:31:14.396 --> 0:31:17.236
<v Speaker 3>the certainty around that of just knowing, like, yep, I'm

0:31:17.236 --> 0:31:19.876
<v Speaker 3>an alcoholic. So when I go to meetings and raise

0:31:19.916 --> 0:31:21.756
<v Speaker 3>my hand and say, yup, I'm obi I'm an alcoholic,

0:31:22.636 --> 0:31:26.876
<v Speaker 3>there's no doubt. You know, I have decades of evidence

0:31:27.276 --> 0:31:30.436
<v Speaker 3>proving yeah, that I'm an alcoholic, so I never have

0:31:30.516 --> 0:31:33.756
<v Speaker 3>to question it, which is there's a great comfort in that.

0:31:33.916 --> 0:31:37.556
<v Speaker 3>But for years I was like, oh, isn't there some

0:31:37.636 --> 0:31:40.316
<v Speaker 3>way around this? Isn't there some way I can keep

0:31:41.116 --> 0:31:43.996
<v Speaker 3>going to Max Fish every night until four o'clock in

0:31:44.036 --> 0:31:44.476
<v Speaker 3>the morning.

0:31:45.076 --> 0:31:47.916
<v Speaker 2>But the interesting thing I found was that you, in

0:31:47.956 --> 0:31:50.556
<v Speaker 2>all your years making music, you always made music sober.

0:31:51.796 --> 0:31:56.596
<v Speaker 3>I tried once, and only once, to write music drunk,

0:31:57.516 --> 0:32:00.476
<v Speaker 3>because I thought to myself, well, some of my favorite

0:32:00.556 --> 0:32:04.156
<v Speaker 3>musicians pretty much only made music when they were drunk.

0:32:04.556 --> 0:32:07.316
<v Speaker 3>I mean, some of the best records anyone's ever made

0:32:07.956 --> 0:32:10.636
<v Speaker 3>are records that were made, you know, fueled by cocaine,

0:32:10.676 --> 0:32:13.236
<v Speaker 3>fueled by heroin, whether it's you know, the Velvet Underground

0:32:13.276 --> 0:32:17.636
<v Speaker 3>or Station to Station or exile on Main Street, physical graffiti.

0:32:17.796 --> 0:32:20.556
<v Speaker 3>I guess all the gun Club records on and on

0:32:20.596 --> 0:32:24.276
<v Speaker 3>and on, these amazing alcohol fueled, drug fueled records, and

0:32:24.316 --> 0:32:26.116
<v Speaker 3>I was like, you know what, I'm going to try

0:32:26.156 --> 0:32:30.036
<v Speaker 3>and write a song drunk. And it was bad. And

0:32:30.076 --> 0:32:34.516
<v Speaker 3>it was bad in a way that made me nauseous.

0:32:34.796 --> 0:32:40.156
<v Speaker 3>It was just it had a mediocrity that was like sludgy. Yeah,

0:32:40.196 --> 0:32:43.316
<v Speaker 3>I was a falling down, bottomed out alcoholic drug addict,

0:32:43.356 --> 0:32:49.076
<v Speaker 3>but I would never profane my studio by being drunk

0:32:49.196 --> 0:32:53.236
<v Speaker 3>or high in my studio. Other people like Oasis on

0:32:53.276 --> 0:32:56.556
<v Speaker 3>and on like made amazing drug fueled alcohol field records.

0:32:56.556 --> 0:32:57.836
<v Speaker 3>I just could never be that person.

0:32:58.956 --> 0:33:00.956
<v Speaker 2>It sounds like you wanted to protect the thing that

0:33:00.996 --> 0:33:03.156
<v Speaker 2>was the most important to you and not bring the

0:33:03.236 --> 0:33:05.916
<v Speaker 2>sludge into the thing you cared about the most.

0:33:06.036 --> 0:33:08.756
<v Speaker 3>Yeah. That and veganism, like from nineteen eighty seven I

0:33:08.756 --> 0:33:12.316
<v Speaker 3>went via and there was never a question like that

0:33:12.436 --> 0:33:15.036
<v Speaker 3>was never compromised. So those two things, like working on

0:33:15.156 --> 0:33:20.156
<v Speaker 3>music and being a vegan, those the only two things

0:33:20.876 --> 0:33:25.276
<v Speaker 3>that never got compromised during all the years of egregious compromise.

0:33:26.676 --> 0:33:28.276
<v Speaker 2>Was there a period of time where you made a

0:33:28.356 --> 0:33:32.036
<v Speaker 2>jump from making punk rock music to electronic music or

0:33:32.076 --> 0:33:33.516
<v Speaker 2>did they overlap?

0:33:33.916 --> 0:33:35.796
<v Speaker 3>You know, and I think if you were to talk

0:33:35.836 --> 0:33:39.636
<v Speaker 3>to Rick or anyone in the Beastie Boys, or even

0:33:39.996 --> 0:33:44.436
<v Speaker 3>Madonna or anyone who used to hang out in dance Atyria,

0:33:45.036 --> 0:33:50.436
<v Speaker 3>it's the danceteria eclecticism of you know, when I first

0:33:50.436 --> 0:33:53.156
<v Speaker 3>went to Dance Atyria, I went there to see the

0:33:53.156 --> 0:33:55.036
<v Speaker 3>Bad Brains or I went there to see a mission

0:33:55.036 --> 0:33:58.756
<v Speaker 3>of Burma. But by being in this incredible space, this

0:33:58.916 --> 0:34:03.276
<v Speaker 3>super cool space, you were exposed to hip hop, to

0:34:03.836 --> 0:34:06.916
<v Speaker 3>burgeoning house. And this was nineteen eighty two, so five

0:34:06.996 --> 0:34:12.356
<v Speaker 3>years before house music, but electronic music and all this eclecticism.

0:34:12.396 --> 0:34:15.436
<v Speaker 3>You know, New York in the early eighties almost went

0:34:15.516 --> 0:34:17.996
<v Speaker 3>out of its way to be eclectic. You know, you'd

0:34:17.996 --> 0:34:21.036
<v Speaker 3>go to see a punk rock band and beforehand they'd

0:34:21.036 --> 0:34:25.436
<v Speaker 3>be playing Johnny Cash and reggae, and that eclecticism was

0:34:25.516 --> 0:34:30.316
<v Speaker 3>so cool and so interesting, and it didn't come naturally

0:34:30.356 --> 0:34:33.876
<v Speaker 3>to me, but it was so interesting and so appealing

0:34:34.076 --> 0:34:36.476
<v Speaker 3>that I embraced it, and it just sort of wove

0:34:36.556 --> 0:34:39.076
<v Speaker 3>its way into my musical DNA. So then from that

0:34:39.156 --> 0:34:43.396
<v Speaker 3>point on, it never made sense to me to focus

0:34:43.436 --> 0:34:47.796
<v Speaker 3>on one style of music exclusively when there was so

0:34:48.036 --> 0:34:54.236
<v Speaker 3>much to be gained from being weirdly eclectic totally.

0:34:54.716 --> 0:34:57.636
<v Speaker 2>So let's talk a little bit about the new album.

0:34:57.716 --> 0:35:02.756
<v Speaker 2>So the new album resound NYC. So the little pr

0:35:02.876 --> 0:35:07.076
<v Speaker 2>line that I have about it is it's reimagines and orchestra.

0:35:07.156 --> 0:35:10.316
<v Speaker 4>It's fifteen of your most icon tracks.

0:35:10.316 --> 0:35:12.196
<v Speaker 3>Even though half of them no one's ever heard before.

0:35:12.196 --> 0:35:15.556
<v Speaker 2>But yeah, recorded in New York between ninety four and

0:35:15.596 --> 0:35:20.076
<v Speaker 2>twenty ten, And looking at the liner notes, a lot

0:35:20.116 --> 0:35:26.636
<v Speaker 2>of the songs, if not every song, you play percussion, keys, bass, guitar,

0:35:27.476 --> 0:35:30.316
<v Speaker 2>add vocals on a lot of them. You recorded a

0:35:30.316 --> 0:35:33.116
<v Speaker 2>lot of them yourself. So when you were sitting down

0:35:33.476 --> 0:35:36.716
<v Speaker 2>to reimagine the songs, did you have to put yourself

0:35:36.916 --> 0:35:39.796
<v Speaker 2>in sort of like the headspace of being back in

0:35:39.836 --> 0:35:41.716
<v Speaker 2>New York in the nineties.

0:35:42.396 --> 0:35:44.396
<v Speaker 3>I mean, there's that, and the same thing with writing

0:35:44.436 --> 0:35:51.156
<v Speaker 3>those memoirs. It's a really odd contrast. Like, for example,

0:35:51.196 --> 0:35:54.996
<v Speaker 3>the first memoir, like I was writing about like these

0:35:55.356 --> 0:35:59.796
<v Speaker 3>as you read it, it's like these really grimy, degenerate experiences,

0:36:00.236 --> 0:36:03.316
<v Speaker 3>while I was like sitting in my living room sober

0:36:03.476 --> 0:36:07.756
<v Speaker 3>drinking organic white tea on a beautiful Los Angeles day,

0:36:07.836 --> 0:36:13.236
<v Speaker 3>Like it was so odd comparing and contrasting here and

0:36:13.316 --> 0:36:18.756
<v Speaker 3>now with there and then and with music like one

0:36:18.756 --> 0:36:21.796
<v Speaker 3>of the most wonderful things. And it's not just my

0:36:21.996 --> 0:36:25.356
<v Speaker 3>music for me, but the idea of music as it's

0:36:25.436 --> 0:36:29.276
<v Speaker 3>like a time portal. It's like a little sonic wormhole

0:36:30.036 --> 0:36:35.316
<v Speaker 3>and revisiting who we were when, like in my case,

0:36:35.316 --> 0:36:38.476
<v Speaker 3>when I wrote something, when I released something, but even

0:36:38.516 --> 0:36:41.796
<v Speaker 3>hearing songs from a certain period to state the obvious,

0:36:41.836 --> 0:36:46.116
<v Speaker 3>whether it's the seventies, the eighties, the nineties, whenever, remembering

0:36:47.356 --> 0:36:50.996
<v Speaker 3>like you know, what we were wearing, what the world

0:36:51.076 --> 0:36:55.476
<v Speaker 3>looked like, who was president. And it's such an almost

0:36:55.556 --> 0:37:01.756
<v Speaker 3>like somatic, tactile way of actually revisiting the past. Like

0:37:01.996 --> 0:37:03.756
<v Speaker 3>I don't know about you, but like if I listened to,

0:37:03.916 --> 0:37:08.916
<v Speaker 3>like one of my favorite songs from ninet te let's

0:37:08.916 --> 0:37:13.676
<v Speaker 3>say eighty seven, I can remember like it. It's not academic,

0:37:13.796 --> 0:37:17.356
<v Speaker 3>it's not like a description of nineteen eighty seven. It's

0:37:17.356 --> 0:37:22.236
<v Speaker 3>a physical memoryeah. And that's even enhanced when it's a

0:37:22.276 --> 0:37:26.036
<v Speaker 3>song that you've written and you know, I remember, like

0:37:26.796 --> 0:37:29.556
<v Speaker 3>what was going on in the world, what my studio

0:37:29.676 --> 0:37:32.956
<v Speaker 3>looked like and it's it's such an interesting way of

0:37:32.996 --> 0:37:38.596
<v Speaker 3>gaining perspective on who we are now. But there is

0:37:39.516 --> 0:37:41.316
<v Speaker 3>and and this is the sad part, if I'm being

0:37:42.076 --> 0:37:46.756
<v Speaker 3>really honest, there's a very depressing aspect to it, which

0:37:46.796 --> 0:37:49.996
<v Speaker 3>is not just being old and one day closer to death,

0:37:50.436 --> 0:37:53.956
<v Speaker 3>but the fact that and this is so depressing it's

0:37:53.956 --> 0:37:57.356
<v Speaker 3>almost even like hard to address that. In the nineties

0:37:58.316 --> 0:38:02.556
<v Speaker 3>everything was optimistic, and we it was so optimistic, we

0:38:02.636 --> 0:38:05.596
<v Speaker 3>didn't even know it was optimistic. But like I look

0:38:05.676 --> 0:38:08.196
<v Speaker 3>back at it, and like Bill Clinton was president, and

0:38:08.276 --> 0:38:11.436
<v Speaker 3>like the Soviet Union had ended, and Russia was thinking

0:38:11.476 --> 0:38:15.356
<v Speaker 3>of joining the EC, and China was enacting democratic reforms,

0:38:15.436 --> 0:38:18.396
<v Speaker 3>and the Internet was going to be this wonderful force

0:38:18.476 --> 0:38:22.396
<v Speaker 3>that brought us together and enabled the communication of great ideas.

0:38:23.116 --> 0:38:26.156
<v Speaker 3>Climate change at that point wasn't even an al Gore book.

0:38:26.316 --> 0:38:31.516
<v Speaker 3>Like the world was so optimistic, and culture was interesting,

0:38:31.996 --> 0:38:35.316
<v Speaker 3>and sure there were bad things, but it seemed like

0:38:36.956 --> 0:38:39.876
<v Speaker 3>history had gotten to the point where we had learned

0:38:39.876 --> 0:38:41.956
<v Speaker 3>from the old mistakes and we were going to move

0:38:42.036 --> 0:38:46.676
<v Speaker 3>past them, and we were going to have young, smart, progressive,

0:38:46.956 --> 0:38:50.716
<v Speaker 3>educated leaders, and we were moving into this new future

0:38:51.276 --> 0:38:56.036
<v Speaker 3>and boy, oh boy, were we wrong. So I don't know,

0:38:56.436 --> 0:38:59.036
<v Speaker 3>even if you talk to Gen Z people and millennials, like,

0:38:59.556 --> 0:39:03.116
<v Speaker 3>there just doesn't seem to be ough so depressing, but

0:39:03.116 --> 0:39:07.076
<v Speaker 3>there doesn't seem to be much optimism if any you know. Yeah, yeah,

0:39:07.116 --> 0:39:09.876
<v Speaker 3>I'm really glad that we grew up at a time

0:39:10.036 --> 0:39:13.316
<v Speaker 3>when optimism was actually sort of empirically supported.

0:39:14.316 --> 0:39:17.076
<v Speaker 2>I was going to ask you, like, are you happy

0:39:17.116 --> 0:39:19.676
<v Speaker 2>that you were born when you were Yes.

0:39:19.556 --> 0:39:22.316
<v Speaker 3>I'm very glad I was born in nineteen sixty five

0:39:23.156 --> 0:39:28.116
<v Speaker 3>because being nine years old in the seventies and listening

0:39:28.116 --> 0:39:32.276
<v Speaker 3>to AM radio in the morning and hearing every from

0:39:32.316 --> 0:39:35.596
<v Speaker 3>the Eagle to Elton John to Queen to led Zeppelin

0:39:35.996 --> 0:39:38.356
<v Speaker 3>to Paul McCartney to on and on and on, I'm.

0:39:38.236 --> 0:39:39.676
<v Speaker 4>Like, wow, it's insane.

0:39:39.996 --> 0:39:43.116
<v Speaker 3>That was great, and like, of course getting older is

0:39:43.116 --> 0:39:46.316
<v Speaker 3>a little challenging, but at the same time, you know,

0:39:46.396 --> 0:39:50.116
<v Speaker 3>to be in New York in the late seventies when

0:39:50.756 --> 0:39:53.876
<v Speaker 3>hip hop and punk rock and indie rock and electronic

0:39:53.956 --> 0:39:57.996
<v Speaker 3>music were all being invented, like that's and I feel

0:39:57.996 --> 0:40:01.916
<v Speaker 3>bad for young people today for many reasons, like dealing

0:40:01.916 --> 0:40:06.316
<v Speaker 3>with pandemics, climate change, the pressures of social media, et cetera,

0:40:06.356 --> 0:40:10.236
<v Speaker 3>et cetera, et cetera. But the other is like when

0:40:10.276 --> 0:40:12.636
<v Speaker 3>I was growing up and you experienced this as well,

0:40:12.676 --> 0:40:16.236
<v Speaker 3>Like we got to experience things as they were being invented,

0:40:16.876 --> 0:40:20.556
<v Speaker 3>Like I mean, hip hop was invented, house music was invented.

0:40:20.636 --> 0:40:24.236
<v Speaker 2>Techno and raven ever existed before. It hasn't always been here.

0:40:24.396 --> 0:40:28.956
<v Speaker 3>Yeah, And another thing that makes me so grateful for

0:40:30.276 --> 0:40:32.796
<v Speaker 3>I'll include you even though you're so very young, but

0:40:32.956 --> 0:40:38.036
<v Speaker 3>like the fact that we when when we became adults,

0:40:38.156 --> 0:40:41.196
<v Speaker 3>you know, twenty twenty one, we could move to any

0:40:41.276 --> 0:40:44.436
<v Speaker 3>city in the world because every city was so inexpensive,

0:40:45.356 --> 0:40:48.556
<v Speaker 3>you know, Like when I was twenty years old, I

0:40:48.596 --> 0:40:51.196
<v Speaker 3>was like, Wow, you can move to any city in

0:40:51.236 --> 0:40:54.476
<v Speaker 3>the world and not even have to worry about paying

0:40:54.516 --> 0:40:56.516
<v Speaker 3>the rent. Like my first rent in New York was

0:40:56.556 --> 0:40:59.596
<v Speaker 3>one hundred and thirty dollars a month rent on fourteenth

0:40:59.596 --> 0:41:02.316
<v Speaker 3>and third, And that was true for everybody, and as

0:41:02.356 --> 0:41:05.396
<v Speaker 3>a result, there was no pressure. You're like, oh, if

0:41:05.396 --> 0:41:08.316
<v Speaker 3>you want to be a filmmaker, spend five years figuring

0:41:08.396 --> 0:41:11.316
<v Speaker 3>it out, because guess what, your rent is so cheap.

0:41:11.436 --> 0:41:13.956
<v Speaker 3>Or a writer or a musician or a playwright or

0:41:14.396 --> 0:41:18.116
<v Speaker 3>whatever you had that time, it was almost like apprenticeships,

0:41:18.116 --> 0:41:24.076
<v Speaker 3>Like we all had extended creative apprenticeships facilitated by a

0:41:24.156 --> 0:41:28.556
<v Speaker 3>lack of financial pressure because cost of living was so cheap.

0:41:28.596 --> 0:41:30.516
<v Speaker 3>And it breaks my heart that like a twenty one

0:41:30.556 --> 0:41:33.236
<v Speaker 3>year old today, there's nowhere in the world for them

0:41:33.276 --> 0:41:33.596
<v Speaker 3>to live.

0:41:34.956 --> 0:41:37.156
<v Speaker 1>We'll be back after another quick break with more from

0:41:37.236 --> 0:41:43.836
<v Speaker 1>Lea Rose and Moby. We're back with the rest of

0:41:43.956 --> 0:41:46.436
<v Speaker 1>Lea Rose's conversation with Moby.

0:41:47.436 --> 0:41:49.076
<v Speaker 2>I wanted to ask you about a couple of the

0:41:49.196 --> 0:41:52.556
<v Speaker 2>songs on the new album. When It's Cold I'd like

0:41:52.636 --> 0:41:56.156
<v Speaker 2>to die. So there's a new vocalist on this song.

0:41:56.756 --> 0:42:00.076
<v Speaker 2>It's so beautiful, it's so moving, it's sad, but it's

0:42:00.116 --> 0:42:03.876
<v Speaker 2>so triumphant. So how did you find the vocalist and

0:42:04.276 --> 0:42:06.156
<v Speaker 2>what usually draws you to a vocalist.

0:42:06.436 --> 0:42:09.676
<v Speaker 3>Well, when I was really little, I desperate wanted to

0:42:09.716 --> 0:42:13.756
<v Speaker 3>be a great singer, like it was my goal. When

0:42:13.796 --> 0:42:17.916
<v Speaker 3>I was seven years old, you know, being in post

0:42:17.916 --> 0:42:22.316
<v Speaker 3>corner pizza listening to Queen on the jukebox, I was like, Wow,

0:42:22.556 --> 0:42:24.836
<v Speaker 3>how what a great life that would be to sing

0:42:24.956 --> 0:42:28.436
<v Speaker 3>like Freddie Mercury or Paul McCartney. And then I started

0:42:28.436 --> 0:42:30.756
<v Speaker 3>playing in bands and I learned very quickly. I'm not

0:42:30.796 --> 0:42:35.836
<v Speaker 3>a great singer. I'm a solid B B minus white

0:42:35.876 --> 0:42:39.076
<v Speaker 3>guy singer. And I learned in the early nineties, if

0:42:39.116 --> 0:42:41.436
<v Speaker 3>I want to have beautiful voices on my records, I

0:42:41.476 --> 0:42:43.956
<v Speaker 3>have to learn how to work with singers. And so

0:42:45.156 --> 0:42:48.316
<v Speaker 3>that forced me to work with singers on my records

0:42:48.356 --> 0:42:52.516
<v Speaker 3>and also produce and remix other people. I mean, I

0:42:52.556 --> 0:42:55.956
<v Speaker 3>got to work with everyone from David Bowie to Ozzy

0:42:55.996 --> 0:42:59.316
<v Speaker 3>Osbourne to Britney Spears to Chris Cornell, like you know,

0:42:59.356 --> 0:43:04.876
<v Speaker 3>everybody from Chuck d to the Beastie Boys, and that

0:43:05.116 --> 0:43:10.836
<v Speaker 3>exposure to voices made me fall in love with the

0:43:10.876 --> 0:43:15.356
<v Speaker 3>process of It's frustrating because like you with technology, you

0:43:15.396 --> 0:43:17.516
<v Speaker 3>can make technology do what you want it to do.

0:43:17.596 --> 0:43:21.556
<v Speaker 3>The human voice is not technological like That's why it

0:43:21.596 --> 0:43:26.556
<v Speaker 3>is so compelling and powerful, because it expresses that vulnerability

0:43:27.076 --> 0:43:32.836
<v Speaker 3>and strengths. And it's such a challenge getting great vocal

0:43:32.876 --> 0:43:36.996
<v Speaker 3>performances from people, but when you do, it's sublime and transcendent.

0:43:37.436 --> 0:43:40.556
<v Speaker 3>So the original version of When It's Cold I'd Like

0:43:40.596 --> 0:43:43.476
<v Speaker 3>to Die came out in nineteen ninety five with this

0:43:43.596 --> 0:43:46.676
<v Speaker 3>amazing woman named Mimi Gaizy who had been in a

0:43:46.676 --> 0:43:50.876
<v Speaker 3>band called Hugo Largo, and it was an obscure song

0:43:52.156 --> 0:43:54.716
<v Speaker 3>that was at the end of a record that very

0:43:54.716 --> 0:43:59.996
<v Speaker 3>few people had listened to. But somehow, weirdly, people kept

0:44:00.036 --> 0:44:03.636
<v Speaker 3>discovering that song, like it was used in The Sopranos

0:44:03.716 --> 0:44:07.236
<v Speaker 3>when Tony soprano spoiler alert, when Tony soprano it goes

0:44:07.276 --> 0:44:12.436
<v Speaker 3>into a coma. People kept finding it and then lo

0:44:12.676 --> 0:44:16.596
<v Speaker 3>and behold. Last summer, it was used in the season

0:44:16.636 --> 0:44:21.116
<v Speaker 3>finale of Stranger Things So cool for about four minutes,

0:44:21.556 --> 0:44:26.116
<v Speaker 3>and I had the very strange, disconcerting experience of watching

0:44:26.156 --> 0:44:29.996
<v Speaker 3>Stranger Things. My song started playing and I started crying

0:44:30.396 --> 0:44:32.916
<v Speaker 3>because I don't know if you've seen this last episode,

0:44:32.916 --> 0:44:38.556
<v Speaker 3>but it's really intense and so emotional, and it created

0:44:38.556 --> 0:44:43.796
<v Speaker 3>this very strange phenomena of really young kids on TikTok

0:44:43.996 --> 0:44:47.116
<v Speaker 3>listening to this song and crying into their cameras.

0:44:47.396 --> 0:44:47.916
<v Speaker 4>Wow.

0:44:48.196 --> 0:44:51.556
<v Speaker 3>So it's this bizarre zeitgeist moment for an old guy

0:44:51.676 --> 0:44:54.156
<v Speaker 3>like me, where like suddenly fifteen year old kids in

0:44:54.196 --> 0:44:57.156
<v Speaker 3>New Zealand are having these emotional moments into their phones

0:44:57.196 --> 0:45:02.236
<v Speaker 3>on TikTok. So long winded way of saying, I really

0:45:02.276 --> 0:45:06.556
<v Speaker 3>wanted to find a great singer to sing the version

0:45:06.796 --> 0:45:08.916
<v Speaker 3>of when It's Cold I'd Like to Die for this album.

0:45:09.356 --> 0:45:13.716
<v Speaker 3>And I worked with a bunch of different people, you know, honestly,

0:45:13.876 --> 0:45:17.396
<v Speaker 3>like quite a few people who great singers, who couldn't

0:45:17.436 --> 0:45:20.316
<v Speaker 3>do it. They could deliver the technical perfection, but they

0:45:20.356 --> 0:45:25.476
<v Speaker 3>couldn't deliver the emotion, the vulnerability. And so I just

0:45:25.516 --> 0:45:27.876
<v Speaker 3>thought like, Okay, well, I guess that means it's not

0:45:27.916 --> 0:45:32.396
<v Speaker 3>going to be on the record. But then last minute,

0:45:32.676 --> 0:45:35.276
<v Speaker 3>Hail Mary, even though I don't know really what that means.

0:45:35.516 --> 0:45:37.556
<v Speaker 3>And as someone who doesn't know sports, I shouldn't use

0:45:37.556 --> 0:45:41.516
<v Speaker 3>sports analogies. But my friend Jonathan went to a wedding

0:45:41.636 --> 0:45:45.036
<v Speaker 3>in Texas and he heard the wedding singer, this guy

0:45:45.116 --> 0:45:47.756
<v Speaker 3>named Paul Banks, same name as the singer from Interpol,

0:45:48.596 --> 0:45:50.836
<v Speaker 3>and he thought he might be good on when It's

0:45:50.876 --> 0:45:54.156
<v Speaker 3>called I'd Like to Die. So he brought this wedding singer,

0:45:54.236 --> 0:45:58.996
<v Speaker 3>Paul into his studio, and Paul the wedding singer, nailed

0:45:59.036 --> 0:46:02.316
<v Speaker 3>it like so much better than anybody else I had

0:46:02.356 --> 0:46:06.196
<v Speaker 3>worked with, and I was like, wow, so pt Banks,

0:46:06.276 --> 0:46:10.636
<v Speaker 3>this wedding singer from the middle of ten Exis, ended

0:46:10.716 --> 0:46:14.556
<v Speaker 3>up delivering the most vulnerable beautiful vocal performance and when

0:46:14.556 --> 0:46:15.796
<v Speaker 3>it's cold, I'd like to die.

0:46:16.436 --> 0:46:18.396
<v Speaker 4>Oh my gosh, it is so moving.

0:46:19.316 --> 0:46:22.356
<v Speaker 2>And I was wondering if you have any tricks as

0:46:22.396 --> 0:46:27.316
<v Speaker 2>a producer for making a song anthemic, Like, is there

0:46:27.356 --> 0:46:29.796
<v Speaker 2>anything that you can add or anything in your toolkit

0:46:29.836 --> 0:46:31.916
<v Speaker 2>that you go back to that you know, if you

0:46:31.956 --> 0:46:34.916
<v Speaker 2>add a little bit of this, it's gonna make it huge.

0:46:35.316 --> 0:46:35.476
<v Speaker 1>You know.

0:46:35.596 --> 0:46:39.316
<v Speaker 3>The tricky thing there is it all depends on what

0:46:39.476 --> 0:46:44.116
<v Speaker 3>type of song, what's the genre, what's the instrumentation. But

0:46:44.236 --> 0:46:45.716
<v Speaker 3>like with when it's called I'd like to die, like

0:46:45.836 --> 0:46:51.116
<v Speaker 3>especially the version on Resound NYC, like, there're no electric

0:46:51.476 --> 0:46:57.316
<v Speaker 3>electronic elements, So in a weird way, it's chord voicings,

0:46:57.356 --> 0:47:03.596
<v Speaker 3>it's chord progressions. But it's also it's the juxtaposition between

0:47:03.716 --> 0:47:07.596
<v Speaker 3>restraint and bomb bast, you know, and whether that's a

0:47:07.676 --> 0:47:09.876
<v Speaker 3>hip hop track or a tech no track or in

0:47:09.916 --> 0:47:13.516
<v Speaker 3>this case, like a piece of classical music with vocals

0:47:13.516 --> 0:47:17.356
<v Speaker 3>on top of it, it's the restraint. It's letting the

0:47:17.476 --> 0:47:22.236
<v Speaker 3>restraint be achingly vulnerable and letting the bomb bast be

0:47:22.356 --> 0:47:27.116
<v Speaker 3>incredibly grand and creating the dynamic tension between those two things,

0:47:27.116 --> 0:47:31.836
<v Speaker 3>but also ultimately using myself as the first sounding board. Like,

0:47:31.876 --> 0:47:34.516
<v Speaker 3>if I'm working on a piece of music and I

0:47:34.676 --> 0:47:37.796
<v Speaker 3>have a profound emotional reaction to it, that increases the

0:47:37.916 --> 0:47:40.716
<v Speaker 3>chances that it might be worth playing for other people,

0:47:40.756 --> 0:47:43.196
<v Speaker 3>and the hope that they'd have an emotional reaction to it.

0:47:43.996 --> 0:47:46.436
<v Speaker 2>Do you listen to music really, really loud when you're

0:47:46.436 --> 0:47:46.916
<v Speaker 2>making it?

0:47:47.836 --> 0:47:51.796
<v Speaker 3>Do you know what's funny? I hate loud music. I've

0:47:51.836 --> 0:47:56.796
<v Speaker 3>worn ear plugs since nineteen eighty two, maybe nineteen eighty one.

0:47:57.436 --> 0:48:00.276
<v Speaker 3>I saw the Misfits play in Bridgeport, Connecticut, and my

0:48:00.356 --> 0:48:02.436
<v Speaker 3>ears were ringing the next day, And so I've always

0:48:02.436 --> 0:48:06.756
<v Speaker 3>worn ear plugs because I maybe shouldn't even admit this.

0:48:06.836 --> 0:48:10.276
<v Speaker 3>I just don't like loud music. I love when I'm

0:48:10.316 --> 0:48:14.756
<v Speaker 3>working in my studio. I can hear outside sounds way

0:48:14.796 --> 0:48:16.636
<v Speaker 3>louder than I can hear anything i'm working on.

0:48:17.876 --> 0:48:20.276
<v Speaker 4>So interesting. So how would you handle that?

0:48:20.356 --> 0:48:23.796
<v Speaker 2>If you were djaying a huge party or a rave

0:48:23.996 --> 0:48:25.996
<v Speaker 2>or something big and loud.

0:48:26.516 --> 0:48:32.316
<v Speaker 3>I would wear I wear those yellow foam earplugs that

0:48:32.356 --> 0:48:36.116
<v Speaker 3>the guys wear. Who wear who do jackhammers?

0:48:36.636 --> 0:48:39.436
<v Speaker 4>Yeah? And so you would put your headphones over those?

0:48:39.916 --> 0:48:42.356
<v Speaker 3>I try to, Yeah, I mean, like for a while

0:48:42.436 --> 0:48:44.956
<v Speaker 3>and this is something else I shouldn't admit. My dad

0:48:45.076 --> 0:48:49.836
<v Speaker 3>was a sharp shooter in the military, and I hate guns,

0:48:49.956 --> 0:48:54.436
<v Speaker 3>and I think guns should be outlawed and banned. But nonetheless,

0:48:54.956 --> 0:48:57.036
<v Speaker 3>I sort of grew up around a little bit of

0:48:57.836 --> 0:49:01.756
<v Speaker 3>guns sport, not shooting animals, but like target shooting. And

0:49:02.036 --> 0:49:06.276
<v Speaker 3>when I used to do target shooting a little bit competitively,

0:49:06.716 --> 0:49:12.036
<v Speaker 3>I would wear those yellow foam plugs with shooters earphones

0:49:12.076 --> 0:49:14.116
<v Speaker 3>on top of them because the noise is just like

0:49:14.476 --> 0:49:17.196
<v Speaker 3>loud noises make my brain explode.

0:49:17.756 --> 0:49:19.276
<v Speaker 4>Yeah, I read that.

0:49:19.316 --> 0:49:23.196
<v Speaker 2>For the new album, you built bespoke orchestration around a

0:49:23.236 --> 0:49:25.876
<v Speaker 2>lot of the tracks. Do you have to know music

0:49:25.916 --> 0:49:30.836
<v Speaker 2>theory to do that? Like how do you write orchestral parts?

0:49:31.156 --> 0:49:31.396
<v Speaker 1>Yeah?

0:49:31.396 --> 0:49:33.436
<v Speaker 3>I mean I when I was very young, before I

0:49:33.476 --> 0:49:37.116
<v Speaker 3>discovered punk rock, I actually studied music theory in a

0:49:37.236 --> 0:49:41.316
<v Speaker 3>very idiosyncratic way with a weird music teacher in Connecticut

0:49:41.836 --> 0:49:43.356
<v Speaker 3>when I was from the time I was nine until

0:49:43.356 --> 0:49:49.476
<v Speaker 3>around thirteen, So, oddly enough, a degree of rudimentary music

0:49:49.556 --> 0:49:53.276
<v Speaker 3>theory is kind of baked into my musical DNA. So

0:49:53.356 --> 0:49:55.276
<v Speaker 3>when it came time to make the first record with

0:49:55.356 --> 0:49:59.236
<v Speaker 3>Deutsche Grammophone, which is a much more traditional orchestral record.

0:49:59.836 --> 0:50:03.556
<v Speaker 3>I wrote the basic orchestral parts, and then I didn't

0:50:03.596 --> 0:50:06.276
<v Speaker 3>trust myself enough, so I handed them over to an

0:50:06.356 --> 0:50:10.036
<v Speaker 3>orchestrator who turned them into something it could be played

0:50:10.076 --> 0:50:13.636
<v Speaker 3>by an orchestra. And when I listened to what he did,

0:50:13.716 --> 0:50:17.476
<v Speaker 3>and when I watched the process, I realized, oh, I

0:50:17.476 --> 0:50:19.756
<v Speaker 3>can do that. I can't conduct, like I wouldn't know

0:50:19.756 --> 0:50:23.676
<v Speaker 3>how to conduct an orchestra, but I can write. I'd

0:50:23.716 --> 0:50:27.316
<v Speaker 3>say I can get orchestral parts to ninety five percent

0:50:27.516 --> 0:50:31.316
<v Speaker 3>finished where they can be presented to an orchestra to

0:50:31.396 --> 0:50:35.956
<v Speaker 3>be performed. And it's I love that process, Like writing

0:50:36.076 --> 0:50:41.556
<v Speaker 3>orchestration and doing orchestral arrangement is so satisfying and so

0:50:41.676 --> 0:50:45.996
<v Speaker 3>much fun. And what the use of the word bespoke

0:50:46.956 --> 0:50:52.436
<v Speaker 3>in that press release, what that means is traditionally an

0:50:52.556 --> 0:50:56.476
<v Speaker 3>orchestral album would have a conventional orchestra for each song.

0:50:57.316 --> 0:51:00.276
<v Speaker 3>And what I did with this record and the Pandemic

0:51:00.356 --> 0:51:03.516
<v Speaker 3>definitely encouraged this as well, is each song got its

0:51:03.596 --> 0:51:06.956
<v Speaker 3>own orchestral approach. So in some instances that was just

0:51:06.996 --> 0:51:10.876
<v Speaker 3>working with a quintet, maybe augmented with a mellotron, and

0:51:10.956 --> 0:51:14.076
<v Speaker 3>other times it was actually working with a full eighty

0:51:14.116 --> 0:51:18.436
<v Speaker 3>five piece orchestra. But that's clearly a bit hard during

0:51:18.476 --> 0:51:21.156
<v Speaker 3>the pandemic, so we weren't able to do that much

0:51:21.196 --> 0:51:23.276
<v Speaker 3>of that, whereas the first record was a lot of

0:51:23.276 --> 0:51:27.196
<v Speaker 3>that big eighty five piece orchestra. Yeah, so that's the

0:51:27.236 --> 0:51:30.436
<v Speaker 3>bespoke aspect of that. Like even in some songs, like

0:51:30.996 --> 0:51:33.756
<v Speaker 3>the version of Helpless it's on the record, the Neil

0:51:33.796 --> 0:51:34.356
<v Speaker 3>Young song.

0:51:34.796 --> 0:51:36.796
<v Speaker 4>Yeah, it's beautiful, Oh.

0:51:36.636 --> 0:51:40.516
<v Speaker 3>Thank you, But like the orchestration, there at times it's

0:51:40.636 --> 0:51:45.716
<v Speaker 3>so pulled back because I was working with a quintet

0:51:45.796 --> 0:51:47.836
<v Speaker 3>and you know, a French horn player and an English

0:51:47.876 --> 0:51:51.356
<v Speaker 3>horn player as opposed to that full eighty five piece orchestra.

0:51:51.476 --> 0:51:56.436
<v Speaker 3>Because when you have an eighty five or larger piece orchestra,

0:51:56.916 --> 0:51:59.156
<v Speaker 3>you kind of want them all to be doing something,

0:51:59.916 --> 0:52:03.116
<v Speaker 3>which is great for bombast but not so great for

0:52:04.476 --> 0:52:06.676
<v Speaker 3>austere vulnerability.

0:52:07.716 --> 0:52:08.676
<v Speaker 4>Yeah.

0:52:09.196 --> 0:52:12.636
<v Speaker 2>Is it possible to capture the thrill of an eighty

0:52:12.676 --> 0:52:15.636
<v Speaker 2>five piece orchestra on a recording.

0:52:16.756 --> 0:52:19.756
<v Speaker 3>That's a great question, I mean, because you could almost

0:52:20.156 --> 0:52:26.436
<v Speaker 3>expand it to say like recording and mixing, it's to

0:52:26.476 --> 0:52:30.196
<v Speaker 3>state at the Abbeys it's trickery. Like John Bonham, how

0:52:30.196 --> 0:52:33.996
<v Speaker 3>did they make John Bonham's drums sound so like with

0:52:34.156 --> 0:52:35.836
<v Speaker 3>just a couple of microphones, how do you make them

0:52:35.876 --> 0:52:40.316
<v Speaker 3>sound so big? You know, Yeah, it's a lot of

0:52:41.356 --> 0:52:44.836
<v Speaker 3>trickery taking you know, John Bonham's drums, or taking a

0:52:44.876 --> 0:52:48.436
<v Speaker 3>giant orchestra or a gospel choir and getting it down

0:52:49.076 --> 0:52:52.676
<v Speaker 3>to a little file that's going to sound wonderful on

0:52:52.756 --> 0:52:55.716
<v Speaker 3>two speakers or two earbuds on the L train during

0:52:55.836 --> 0:52:59.276
<v Speaker 3>morning commute. Like, yeah, it makes me feel a little

0:52:59.316 --> 0:53:02.076
<v Speaker 3>bit like a liar. That like part of my job is,

0:53:03.036 --> 0:53:05.156
<v Speaker 3>you know, you start with something big, you make it

0:53:05.196 --> 0:53:06.836
<v Speaker 3>really small, and then figure out how to try and

0:53:06.836 --> 0:53:07.596
<v Speaker 3>make it big again.

0:53:08.356 --> 0:53:10.876
<v Speaker 2>Speaking of trick, does Ozzy Osborne you said you worked

0:53:10.876 --> 0:53:14.276
<v Speaker 2>with Ozzy Osbourne? Did he with those Black Sabbath albums?

0:53:14.476 --> 0:53:17.316
<v Speaker 2>Did they do something to his voice in post production

0:53:17.556 --> 0:53:19.796
<v Speaker 2>or is it doubled or is that just the way

0:53:19.836 --> 0:53:20.476
<v Speaker 2>he sounds?

0:53:20.876 --> 0:53:28.076
<v Speaker 3>His trick is very straightforward. It's doubling his voice. So

0:53:28.116 --> 0:53:31.156
<v Speaker 3>when you say it's because when we were recording his

0:53:31.276 --> 0:53:33.996
<v Speaker 3>vocals and really no one ever needs to listen to

0:53:33.996 --> 0:53:35.916
<v Speaker 3>the song we did, I hate to say it's it's

0:53:36.396 --> 0:53:39.796
<v Speaker 3>it's not either one of our best moments. It was

0:53:39.796 --> 0:53:42.116
<v Speaker 3>on the Beavis and butt Head soundtrack. But I was

0:53:42.156 --> 0:53:46.036
<v Speaker 3>just thrilled to be working with Ozzy and uh totally

0:53:46.196 --> 0:53:49.156
<v Speaker 3>at that point he had this amazing band. But when

0:53:49.196 --> 0:53:53.436
<v Speaker 3>he recorded his first vocal take, the engineer and I

0:53:53.436 --> 0:53:55.916
<v Speaker 3>looked at each other, We're like, uh, oh, that was

0:53:56.036 --> 0:53:58.796
<v Speaker 3>kind of uh, we're gonna have to work with that.

0:53:58.596 --> 0:54:03.036
<v Speaker 3>That's it was not perfect, I say diplomatically. And then

0:54:03.076 --> 0:54:05.996
<v Speaker 3>he said, okay, now let me double it. And when

0:54:06.036 --> 0:54:07.876
<v Speaker 3>he doubled it, the engineer and I looked at each

0:54:07.876 --> 0:54:09.716
<v Speaker 3>other and was like, oh my god, now now it's Ozzy.

0:54:10.196 --> 0:54:14.796
<v Speaker 3>So that doubling of the vocal that I believe he

0:54:16.116 --> 0:54:18.196
<v Speaker 3>I don't know at what point, whether it was Geezer

0:54:18.196 --> 0:54:21.956
<v Speaker 3>Butler or whomever encouraged him to do that, but that

0:54:22.236 --> 0:54:28.596
<v Speaker 3>is the azzy sound like that immediately registers as Ozzy

0:54:28.796 --> 0:54:31.436
<v Speaker 3>and taking it sort of a little bit full circle

0:54:31.476 --> 0:54:35.236
<v Speaker 3>back to the punk rock Vegan movie, there is one

0:54:36.036 --> 0:54:42.516
<v Speaker 3>original hard rock vegan musician, which is Geezer Butler. Geezer

0:54:42.556 --> 0:54:45.876
<v Speaker 3>has been vegan longer than anybody on the planet. He's

0:54:45.876 --> 0:54:49.676
<v Speaker 3>been vegan since the late sixties. Very cool and unfortunately

0:54:49.796 --> 0:54:51.876
<v Speaker 3>now I do have to get going in just a minute,

0:54:51.916 --> 0:54:55.556
<v Speaker 3>but Can I leave with a story about one of

0:54:55.596 --> 0:55:03.476
<v Speaker 3>my favorite musical, personal, professional, spiritual, existential anecdotes about the

0:55:03.476 --> 0:55:04.876
<v Speaker 3>greatest singer who's ever lived.

0:55:05.516 --> 0:55:07.316
<v Speaker 4>Yes, please, And it's actually.

0:55:06.996 --> 0:55:10.436
<v Speaker 3>In the memoir. So I apologize for plagiarizing myself. But

0:55:11.276 --> 0:55:15.556
<v Speaker 3>David Bowie in the late nineties became my neighbor. He

0:55:15.636 --> 0:55:19.076
<v Speaker 3>was on Lafayette and Mulberry and I was on Mott

0:55:19.116 --> 0:55:22.436
<v Speaker 3>Street and we would wave to each other from our balconies.

0:55:22.556 --> 0:55:26.556
<v Speaker 3>We became friends, and we agreed to play a fundraiser

0:55:26.876 --> 0:55:31.236
<v Speaker 3>for Philip Glass for his Tibet house. And so David

0:55:31.236 --> 0:55:33.676
<v Speaker 3>Bowie came over to my apartment one morning and brought

0:55:33.676 --> 0:55:37.916
<v Speaker 3>coffee from Gitan, and just the two of us sitting

0:55:37.916 --> 0:55:40.156
<v Speaker 3>in my living room, and I worked up all my

0:55:40.316 --> 0:55:42.796
<v Speaker 3>nerve and I asked him, I said, what if we

0:55:42.836 --> 0:55:46.716
<v Speaker 3>do an acoustic version of Heroes? And I really thought

0:55:46.916 --> 0:55:51.916
<v Speaker 3>he was going to finally spit on me or something like.

0:55:52.356 --> 0:55:55.516
<v Speaker 3>I was like, have I crossed a line? But because

0:55:55.516 --> 0:55:57.956
<v Speaker 3>he was so delightful, he said, yeah, sure, let's give

0:55:57.996 --> 0:56:01.596
<v Speaker 3>it a try. So the two of us sitting in

0:56:01.636 --> 0:56:03.836
<v Speaker 3>my living room on Mott Street on a Saturday morning,

0:56:03.956 --> 0:56:09.556
<v Speaker 3>drinking cafe Gitan coffee playing heroes on acoustic guitar, and

0:56:09.596 --> 0:56:13.516
<v Speaker 3>it was very special. But then towards the end he

0:56:13.636 --> 0:56:18.236
<v Speaker 3>brought his voice up an octave. It was so transcendent

0:56:18.716 --> 0:56:23.476
<v Speaker 3>and like, it's possible that on my deathbed, that's what

0:56:23.556 --> 0:56:25.836
<v Speaker 3>I'm going to try, and like when I go out,

0:56:25.876 --> 0:56:27.316
<v Speaker 3>that's what I'm going to try and remember.

0:56:28.436 --> 0:56:30.596
<v Speaker 4>Yeah that's beautiful. Wow.

0:56:31.276 --> 0:56:33.116
<v Speaker 2>Well, thank you so much for taking the time. I

0:56:33.116 --> 0:56:34.476
<v Speaker 2>know I've held you way too long.

0:56:34.636 --> 0:56:36.636
<v Speaker 3>Oh no, this has been great. Like I feel like

0:56:37.156 --> 0:56:40.276
<v Speaker 3>this has been like like a gestalt therapy session, Like

0:56:40.316 --> 0:56:43.996
<v Speaker 3>I need to venmo you a couple hundred dollars for therapy.

0:56:45.556 --> 0:56:48.396
<v Speaker 2>No need, Thank you, and congratulations on the album. It

0:56:48.476 --> 0:56:49.476
<v Speaker 2>sounds fantastic.

0:56:49.756 --> 0:56:52.516
<v Speaker 3>Oh thanks, And yeah, this was really wonderful, and thank

0:56:52.556 --> 0:56:54.796
<v Speaker 3>you for taking the time. And please say hi to

0:56:55.756 --> 0:56:57.836
<v Speaker 3>Rick for me if you see him or speak to him.

0:57:00.956 --> 0:57:03.956
<v Speaker 1>Thanks to Mobi for a thoughtful consideration of all aspects

0:57:04.036 --> 0:57:06.396
<v Speaker 1>of his career. You can hear all of our favorite

0:57:06.436 --> 0:57:10.076
<v Speaker 1>Mobi songs on a playlist at Broken record podcast dot com.

0:57:10.636 --> 0:57:13.476
<v Speaker 1>You can subscribe to our YouTube channel at YouTube dot

0:57:13.516 --> 0:57:16.716
<v Speaker 1>com slash broken record Podcast, where you can find all

0:57:16.756 --> 0:57:20.396
<v Speaker 1>of our new episodes. Broken Record is produced with help

0:57:20.396 --> 0:57:25.676
<v Speaker 1>from Leah Rose, Jason Gambrel, Ben Holliday, Nisha Venkat, Jordan McMillan,

0:57:25.876 --> 0:57:31.316
<v Speaker 1>and Eric Sander. Our editor is Sophie Crem. Broken Record

0:57:31.436 --> 0:57:34.156
<v Speaker 1>is a production of Pushkin Industries. If you love this

0:57:34.236 --> 0:57:37.916
<v Speaker 1>show and others from Pushkin, consider subscribing to Pushkin Plus.

0:57:38.636 --> 0:57:42.156
<v Speaker 1>Pushkin Plus is a podcast subscription service that offers bonus

0:57:42.156 --> 0:57:45.916
<v Speaker 1>content and unintrupted ad free listening for only four ninety

0:57:45.996 --> 0:57:50.236
<v Speaker 1>nine a month. Look for Pushkin Plus on Apple Podcasts subscriptions,

0:57:51.356 --> 0:57:53.476
<v Speaker 1>and if you like the show, remember to share, rate,

0:57:53.556 --> 0:57:56.836
<v Speaker 1>and review us on your podcast staff. Our themes expect

0:57:56.836 --> 0:58:02.756
<v Speaker 1>Anna Beats on, Justin Richie