WEBVTT - Malcolm Gladwell

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<v Speaker 1>The Quest Loft Show is a production of iHeartRadio. Good people,

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<v Speaker 1>What's up? How you doing? Today's episode is actually the

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<v Speaker 1>very first episode taped as the Quest Love Show. It

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<v Speaker 1>was with author podcast hosts and my pal Malcolm glad Well.

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<v Speaker 1>We did this live on stage at the iHeart Cafe

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<v Speaker 1>in can France back in June, and you'll hear me

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<v Speaker 1>explore with this format, asking some random questions to get

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<v Speaker 1>to know people in new ones. Malcolm seemed to have

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<v Speaker 1>fun with it, and along the way we discussed his

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<v Speaker 1>latest book, Revenge of the Tipping Point. So please enjoy

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<v Speaker 1>this episode and let's go back live to the iHeart Cafe.

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<v Speaker 2>All right, all right, who's excited to hear a great

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<v Speaker 2>podcast tonight? About five years ago we hear it. I

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<v Speaker 2>Heart had the chance to begin working with one of

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<v Speaker 2>the great podcasts out there. By the way, I'm Will Pearson,

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<v Speaker 2>President of iHeart Podcast. We are so happy to have

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<v Speaker 2>Well was that what that was about? Just was great, guys.

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<v Speaker 2>I'm just gonna sit down and chat for a bit.

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<v Speaker 2>Thank you now. But I'm pleased to introduce one of

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<v Speaker 2>our favorite podcasters, a true cultural powerhouse. Of course, he's

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<v Speaker 2>a founding member of the legendary roots. Let's give it

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<v Speaker 2>up for the roots. He's a best selling author. He's

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<v Speaker 2>gonna do the wander up here. He's never patient. He's

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<v Speaker 2>not a patient man. He's a historian, he's a creative

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<v Speaker 2>visionary and as of three years ago, an Academy Award winner.

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<v Speaker 2>Let's give it up for the Academy Award winner for

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<v Speaker 2>Summer of Soul, about the nineteen sixty nine Harlem Cultural Festival.

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<v Speaker 2>If you haven't checked out this year's documentary that he

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<v Speaker 2>did about the brilliant sly Stone. Unfortunately we lost him

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<v Speaker 2>just last week.

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<v Speaker 1>It is a.

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<v Speaker 2>Brilliant documentary as well. He's of course an incredible DJ.

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<v Speaker 2>I don't know if anybody got to hear Him's not

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<v Speaker 2>up at Hotel do Cap an incredible setup there, but

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<v Speaker 2>we here love to celebrate his genre hopping podcast, where

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<v Speaker 2>he gets the chance to chat with people such as

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<v Speaker 2>Michelle Obama, Chris Rock, Shaka Khan. The list goes on

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<v Speaker 2>and on and on. He's the ultimate multi hyphen it

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<v Speaker 2>and he is interviewing someone also incredibly interesting. Please join

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<v Speaker 2>me in welcoming the one and only Questlove.

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<v Speaker 1>How's everyone out there? All right? I was handing to

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<v Speaker 1>this le boo boo like five minutes ago. So I

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<v Speaker 1>know most of you don't know who this is, neither

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<v Speaker 1>do I, but I just learned what a lobuobu was. Well.

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<v Speaker 1>First of all, welcome to can Lyon. Thank you for coming.

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<v Speaker 1>Shout out to my iHeart family for organizing and putting

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<v Speaker 1>this together. Shout out to the two one five family

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<v Speaker 1>as well. So basically this platform is primarily known as

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<v Speaker 1>where I dissect music or musicians. Occasionally an actor, director

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<v Speaker 1>and author comes on the show, occasional politician. But we're

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<v Speaker 1>going to do something different today pretty much. I'll say

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<v Speaker 1>that our guests thinks different and probably specifically to me,

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<v Speaker 1>but for a lot of us. He taught me how

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<v Speaker 1>to think different and didn't think about the power of

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<v Speaker 1>critical thinking probably until the beginning of the aughts in

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<v Speaker 1>the early two thousands and whatnot. And I know he

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<v Speaker 1>hates all this attention, but no, he's really changed my

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<v Speaker 1>life as far as me understanding my personality for wanting

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<v Speaker 1>to practice or knowing the science of what's behind things

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<v Speaker 1>and whatnot. Ladies and gentlemen, please welcome Malcolm Gladwell to

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<v Speaker 1>quest Love Support. How you doing, man, I'm good, Okay,

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<v Speaker 1>delighted to be here. Well, let me start off asking

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<v Speaker 1>because you know, when I first met to you twenty

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<v Speaker 1>years ago, like both of us were arriving at a

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<v Speaker 1>new place where you know, we kind of reached our

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<v Speaker 1>prominence at the same time. Now that it's twenty twenty

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<v Speaker 1>five years later, I'll just ask you just off the cuff, like,

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<v Speaker 1>does it ever get exhausting when people are always running

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<v Speaker 1>to you for answers or how to explain things?

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<v Speaker 3>Well, it'd be worse if they didn't do that, right,

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<v Speaker 3>So you always have to think about the flip side

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<v Speaker 3>of it. If you produce stuff and no one it

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<v Speaker 3>never caused a ripple, that would be worse. Okay, So

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<v Speaker 3>this is a problem I'm happy to have.

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<v Speaker 1>Okay, I can accept that. Normally I start with a

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<v Speaker 1>music related question, but I know that's not your forte,

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<v Speaker 1>But I'm going to ask you anyway.

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<v Speaker 3>It's unfair to say it's not my forte. I don't

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<v Speaker 3>know next to you, I don't.

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<v Speaker 1>Know what about it. Okay, Well, I mean you told me before.

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<v Speaker 4>That, Well, I was worried you were going to start.

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<v Speaker 1>You know, That's why I'm asking this question, all right,

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<v Speaker 1>What was your first musical memory in life.

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<v Speaker 3>Oh, I know exactly what it was. We had just moved.

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<v Speaker 3>It was nineteen sixty nine. We just moved to Canada

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<v Speaker 3>from England. We did not have a television, but my

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<v Speaker 3>parents decided to buy a record player.

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<v Speaker 4>But we had no records, and so I went.

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<v Speaker 3>With my mother to the public library and we checked

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<v Speaker 3>out two records Peter PAULA. Mery Greatest Hits, which I

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<v Speaker 3>listened to once.

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<v Speaker 4>It was like EH and.

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<v Speaker 3>Bridge over Troubled Water, which Simon and Garrom Simon and Garfunkle.

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<v Speaker 1>I know, the a Wreatha Franklin version, so.

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<v Speaker 3>Which you know, if you think about sort of serendipitous

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<v Speaker 3>moments in your life, if that was really the the

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<v Speaker 3>first album I ever listened to, really the first mut

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<v Speaker 3>We didn't listen to the radio except for like news radio,

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<v Speaker 3>and we didn't have a TV. I had no exposure,

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<v Speaker 3>your zero to popular music. And the first popular music

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<v Speaker 3>I was ever exposed to in a concentrated way was

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<v Speaker 3>one of the greatest albums of all.

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<v Speaker 4>Time, which is pretty over Trouble.

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<v Speaker 1>Okay.

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<v Speaker 3>That's like if the first novel you read was War

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<v Speaker 3>in Peace, or the first scientist you met was like

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<v Speaker 3>Einstein or you know what I mean, it's like incredibly

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<v Speaker 3>lucky and that I was. To this day, I remember

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<v Speaker 3>exactly what it was like to listen to all those songs.

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<v Speaker 1>Well, I was going to ask you, what was it

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<v Speaker 1>about that record that spoke to you at the time, it.

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<v Speaker 4>Was It's funny because I didn't.

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<v Speaker 3>Later forty years later did an audiobook with Paul Simon,

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<v Speaker 3>who I interviewed him for like forty hours, and which

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<v Speaker 3>was this great sort of full circle. But I think

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<v Speaker 3>it was I hadn't realized how much joy there could

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<v Speaker 3>be in pop music. Remember, I had no exposure to it,

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<v Speaker 3>and if you have no exposure, you have no emotional

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<v Speaker 3>context for it. So I didn't know what pop music

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<v Speaker 3>was supposed to be. Was it supposed to be? All

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<v Speaker 3>I knew was church music. I knew music that was

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<v Speaker 3>supposed to be kind of ceremonial and formal and kind

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<v Speaker 3>of waited with moral meaning. I didn't know joy in music.

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<v Speaker 3>I knew Nursey rhymes, but they were silly, they weren't joyful.

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<v Speaker 3>That album is you know Cecilia and that drum solo

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<v Speaker 3>and on and on, and then the kind of in

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<v Speaker 3>the middle of it they dropped the bomb of Bridge

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<v Speaker 3>over Troubled Water, which is like a full on gospel

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<v Speaker 3>song sung by two Jewish guys from Queens, and like,

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<v Speaker 3>even then is genius. You discover the genius of a backtrack.

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<v Speaker 3>I grew up in a household that was a cultural contradiction,

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<v Speaker 3>a black mother and a white mother and a white father,

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<v Speaker 3>and I was aware of the fact that was a

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<v Speaker 3>discordant idea in the culture. I didn't know anyone else

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<v Speaker 3>who had that combination. And then I come across this

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<v Speaker 3>record which has a similar discordant thing. I know, I

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<v Speaker 3>know what gospel music was, and this was a gospel

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<v Speaker 3>song sung by two Jewish guys and queens.

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<v Speaker 4>Like that's in if.

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<v Speaker 3>You're seven six, that's really interesting and you're kind of

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<v Speaker 3>a student of this.

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<v Speaker 1>So even at the age of six, you had the

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<v Speaker 1>wherewithal the bandwidth to sort of differentiate emotion or well.

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<v Speaker 4>Remember I was well churched.

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<v Speaker 3>So I've been growing up in the evangelical churches of Jamaica,

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<v Speaker 3>the you know, the formal churches of England.

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<v Speaker 4>The so I knew if you if you're.

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<v Speaker 3>Well churched, you you quickly become acquainted with a whole

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<v Speaker 3>range of kind of cultural forms.

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<v Speaker 1>Was the air quotes secular music not allowed in the

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<v Speaker 1>household or did they frown upon it or not.

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<v Speaker 3>It's not that we was frowned upon, it was we

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<v Speaker 3>never got around to it.

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<v Speaker 1>You just never knew existed.

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<v Speaker 4>My mother, the first.

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<v Speaker 3>Movie she ever watched in its entirety was the movie

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<v Speaker 3>remember the Melanie Griffith movie Working Girl. Yeah, my mom

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<v Speaker 3>watched that with the sound off.

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<v Speaker 1>Because she did that was like late eighties.

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<v Speaker 3>My mother was born in nineteen thirty two. The first

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<v Speaker 3>movie she saw, It's full was on a plane and

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<v Speaker 3>she didn't realize she could buy the sound so she

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<v Speaker 3>just watched it, right, And her comment was, so we

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<v Speaker 3>didn't have a TV, so she was really encountering a

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<v Speaker 3>movie that form for the first time.

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<v Speaker 4>She was completely blown away by it. And I remember

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<v Speaker 4>as a kid thinking that is deeply hilarious that.

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<v Speaker 3>She thought, this is this is magical without the sound

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<v Speaker 3>mind you right, this is magical. Welcome that was an

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<v Speaker 3>extraordinary film. It is the is the comment that she goes.

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<v Speaker 3>But like, we didn't have a rule against it. We

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<v Speaker 3>just we just didn't do TV and we didn't go

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<v Speaker 3>to the movies, and we didn't buy records.

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<v Speaker 1>Okay, so I have a theory that boredom is necessary.

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<v Speaker 1>Oh yeah, wait, I said I had a theory about

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<v Speaker 1>You're the one that showed me that theory. I think

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<v Speaker 1>your own theory.

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<v Speaker 3>No, it's my mom's theory, because I would say to

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<v Speaker 3>my mom repeatedly, I mean, I'm living in this what

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<v Speaker 3>I consider to be a cultural desert in the middle

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<v Speaker 3>of rural Canada. And I would say to my mom

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<v Speaker 3>every day on bored and she would say, Malcolm, that's

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<v Speaker 3>a good thing.

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<v Speaker 4>Your mind needs a rest.

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<v Speaker 1>I agree. Did you agree with her at the time.

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<v Speaker 4>Or I do now. I was aware of.

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<v Speaker 3>How I was forced to manufacture my own fund and

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<v Speaker 3>I grew to really, really love there was a kind of,

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<v Speaker 3>in a wonderful way, a pressure to make my own

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<v Speaker 3>fun and I would the hijinks I did as a

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<v Speaker 3>kid were so elaborate and so complex and so ironic

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<v Speaker 3>in kind of many layers that it was the result

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<v Speaker 3>of that.

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<v Speaker 1>So no cousins or siblings on the other side of

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<v Speaker 1>the town you never knew about, or.

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<v Speaker 4>We're living in the middle of rural Ontario.

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<v Speaker 3>In our neighbors are Old Order Mennonites who drive horses

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<v Speaker 3>and buggies and don't have electricity, And like I said,

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<v Speaker 3>we have no TV, and we don't.

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<v Speaker 4>Go to the movies.

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<v Speaker 3>We don't really ever go to restaurants. We go to

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<v Speaker 3>Jamaica once a year at Christmas, and we read a

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<v Speaker 3>lot of books.

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<v Speaker 4>That's what's going on.

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<v Speaker 1>So give me an example of how you would entertain

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<v Speaker 1>yourself in your childhood.

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<v Speaker 3>Well, my best friend was a guy named Terry Martin,

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<v Speaker 3>who I was again, just as I was lucky to

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<v Speaker 3>have encountered Bridge over Trouble Water as the first real record,

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<v Speaker 3>my first really close friend was this guy Terry Martin,

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<v Speaker 3>who was another Neither of his parents went to college.

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<v Speaker 3>He grew up his dad was a chicken farmer, he

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<v Speaker 3>grew up down the road. He's now, by the way,

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<v Speaker 3>a tenured professor at Harvard. But that's the luck. He

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<v Speaker 3>happened to be the guy I ran into in elementary school.

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<v Speaker 3>And he's genius, okay, And he had a sense. He

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<v Speaker 3>thought that all rules should be broken. And we convinced

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<v Speaker 3>our moms that this was true because our moms knew

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<v Speaker 3>each other, and so our moms basically let us do

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<v Speaker 3>whatever we want, including not go to school and wait.

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<v Speaker 1>You would tell them that you're cutting school.

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<v Speaker 4>Oh, my mom was complicit. We had a thing.

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<v Speaker 3>Terry and I decided that it was too easy. We

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<v Speaker 3>were recompetitive. It was too easy to compete on who

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<v Speaker 3>could get the best grades, because like, how hard was that?

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<v Speaker 3>Because no one my school, like ten people went to

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<v Speaker 3>college every year from high school. So we decided what

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<v Speaker 3>we would do is we would create I never forgot

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<v Speaker 3>what we called it. But the number we cared about

0:12:49.559 --> 0:12:55.040
<v Speaker 3>was your average times a number of absences you had

0:12:55.080 --> 0:12:57.439
<v Speaker 3>that year, and the winner was the one with the

0:12:57.480 --> 0:13:00.480
<v Speaker 3>highest number. So we competed not only to get good grades,

0:13:00.480 --> 0:13:03.120
<v Speaker 3>but to see how many days of school we could skip.

0:13:04.280 --> 0:13:06.600
<v Speaker 3>It was fantastic. That's an example of the kind of

0:13:06.640 --> 0:13:09.320
<v Speaker 3>shit that we were doing. And so you seem like

0:13:09.360 --> 0:13:13.960
<v Speaker 3>it's no, but it's not. The genius was it's rebellion,

0:13:14.000 --> 0:13:18.240
<v Speaker 3>but it's highly constrained, institutionalized rebellion, because the point was

0:13:18.280 --> 0:13:22.680
<v Speaker 3>to excel at school while never going there. Right, that

0:13:23.920 --> 0:13:26.160
<v Speaker 3>it was the contray that interests That's what interested it.

0:13:26.280 --> 0:13:27.440
<v Speaker 1>I'm so smart that I was.

0:13:27.640 --> 0:13:31.200
<v Speaker 3>We're not gonna we're not blowing off school. On the contrary, right,

0:13:31.440 --> 0:13:34.520
<v Speaker 3>we're like, we intend to ace out while never showing up,

0:13:34.800 --> 0:13:39.160
<v Speaker 3>and then I terry won that. But then I decided

0:13:39.160 --> 0:13:41.839
<v Speaker 3>what I would do is skip a year of high

0:13:41.880 --> 0:13:48.360
<v Speaker 3>school basically without telling anyone. So I just enrolled in

0:13:49.520 --> 0:13:52.120
<v Speaker 3>one year ahead classes in my senior year and no

0:13:52.160 --> 0:13:55.120
<v Speaker 3>one appeared to notice, which tells us about Canada in

0:13:55.160 --> 0:13:55.720
<v Speaker 3>the seventies.

0:13:56.280 --> 0:14:00.400
<v Speaker 1>And wait, Charlotmagne's face right now, like, I'm that, how

0:14:00.520 --> 0:14:03.440
<v Speaker 1>is this scientifically possible to happen?

0:14:03.600 --> 0:14:03.800
<v Speaker 4>Well?

0:14:03.800 --> 0:14:06.080
<v Speaker 3>No, So the key I thought about this a lot

0:14:06.080 --> 0:14:09.920
<v Speaker 3>when I was a kid. I realized that the only

0:14:10.120 --> 0:14:12.200
<v Speaker 3>subject matter where this was going to be hard was

0:14:12.280 --> 0:14:15.880
<v Speaker 3>math because math was sequential, right, So if you were

0:14:15.880 --> 0:14:18.760
<v Speaker 3>going to skip junior year math is what I was

0:14:18.760 --> 0:14:21.480
<v Speaker 3>intending to do, then you might have a problem.

0:14:21.800 --> 0:14:23.360
<v Speaker 4>But then what's my ace in the hole?

0:14:24.040 --> 0:14:27.680
<v Speaker 3>My dad's a mathematician, so I just had him like

0:14:28.240 --> 0:14:29.720
<v Speaker 3>whenever I had a problem, I was like, Okay, what

0:14:29.760 --> 0:14:30.400
<v Speaker 3>am I missing here?

0:14:30.400 --> 0:14:32.000
<v Speaker 4>And he'd say, oh, yeah, it's just this, this, this.

0:14:32.560 --> 0:14:34.240
<v Speaker 3>I don't know why I'm going on about high school years,

0:14:34.240 --> 0:14:37.120
<v Speaker 3>but they were such fun. I also realized you didn't

0:14:37.160 --> 0:14:41.400
<v Speaker 3>have to graduate from high school once that in Canada

0:14:41.400 --> 0:14:43.480
<v Speaker 3>at the time you did, they were loopholes which I

0:14:43.840 --> 0:14:46.040
<v Speaker 3>was too boring to go into. But I had this

0:14:46.080 --> 0:14:49.200
<v Speaker 3>insight at fifteen that I didn't have to get a

0:14:49.200 --> 0:14:51.640
<v Speaker 3>diploma to go to college. And once I realized, I

0:14:51.680 --> 0:14:54.640
<v Speaker 3>was like, well, all that's are off. That means why

0:14:54.640 --> 0:14:57.040
<v Speaker 3>I don't have to show up for school. I don't

0:14:57.040 --> 0:15:00.480
<v Speaker 3>have to take my junior year. It all kept skated.

0:15:00.760 --> 0:15:03.560
<v Speaker 1>But did you generally just not like school?

0:15:03.600 --> 0:15:03.680
<v Speaker 3>Like?

0:15:03.680 --> 0:15:05.440
<v Speaker 1>What about the whole social angle of it?

0:15:05.520 --> 0:15:07.000
<v Speaker 4>All came later?

0:15:07.080 --> 0:15:11.040
<v Speaker 1>Nevermind I didn't like it, So what would you consider

0:15:11.120 --> 0:15:17.120
<v Speaker 1>your first foray into this cold world we have outside?

0:15:17.200 --> 0:15:20.240
<v Speaker 1>Like if you're inside of an isolated bubble where yeah,

0:15:20.320 --> 0:15:25.040
<v Speaker 1>you know, you're allowed to cut school and without repercussions.

0:15:24.360 --> 0:15:27.960
<v Speaker 3>Or yeah, you know, I think I'm still inside the bubble.

0:15:28.720 --> 0:15:32.400
<v Speaker 3>I don't think i've ever I'm not. You have to

0:15:32.400 --> 0:15:36.880
<v Speaker 3>to backtrack. I was raised to believe and it was

0:15:36.880 --> 0:15:40.400
<v Speaker 3>a correct belief, and my greatest frustration with people in

0:15:40.440 --> 0:15:43.800
<v Speaker 3>my positions they don't recognize it, which was I was

0:15:43.960 --> 0:15:50.000
<v Speaker 3>a middle class male growing up in a developed country

0:15:50.040 --> 0:15:55.000
<v Speaker 3>in the seventies who had came from a healthy, happy

0:15:55.000 --> 0:15:59.800
<v Speaker 3>home life. The world was constructed for me. The whole

0:16:00.120 --> 0:16:04.320
<v Speaker 3>architecture of western society was constructed so the people who

0:16:04.560 --> 0:16:07.920
<v Speaker 3>were like me would succeed, Like you had to really

0:16:07.960 --> 0:16:10.480
<v Speaker 3>work hard not to That was my I think that's

0:16:10.520 --> 0:16:13.440
<v Speaker 3>the correct positions. Why I have such frustration with like

0:16:14.800 --> 0:16:17.960
<v Speaker 3>people in my position who whine about their lives. It's like,

0:16:18.440 --> 0:16:21.600
<v Speaker 3>I'm sorry, Like the whole world was built for you.

0:16:21.600 --> 0:16:23.600
<v Speaker 4>You have no business whinding about anything.

0:16:23.640 --> 0:16:29.280
<v Speaker 3>Ever, there were no obstacles, like institutionally every obstacle. All

0:16:29.320 --> 0:16:31.960
<v Speaker 3>around me were people who faced obstacles, but not me.

0:16:32.480 --> 0:16:36.920
<v Speaker 1>By three, I had a fight or flight situation, you know,

0:16:37.440 --> 0:16:41.680
<v Speaker 1>like growing up in my neighborhood where you instantly had

0:16:41.800 --> 0:16:45.760
<v Speaker 1>radar of which route was safe to go to school,

0:16:46.080 --> 0:16:50.560
<v Speaker 1>go home, Like growing up in crack Era West Philadelphia. Yeah,

0:16:50.600 --> 0:16:54.040
<v Speaker 1>so you never had a fight or flight existence.

0:16:54.920 --> 0:16:58.200
<v Speaker 3>My mom was like friends with the principal, and if

0:16:58.240 --> 0:17:01.920
<v Speaker 3>I got in trouble, she would lecture in about like

0:17:01.960 --> 0:17:04.639
<v Speaker 3>wait wait what oh yeah, she would call him up.

0:17:04.840 --> 0:17:07.320
<v Speaker 4>Same was Roger Millican. She knew Roger. She'd call him

0:17:07.359 --> 0:17:08.280
<v Speaker 4>up and say what are you doing?

0:17:08.440 --> 0:17:11.040
<v Speaker 3>Like you have bigger problems than worrying about Malcolm, which

0:17:11.160 --> 0:17:16.439
<v Speaker 3>I think was a correct position. Wow, she's now in

0:17:16.440 --> 0:17:18.439
<v Speaker 3>a nursing home. But she's still like doing battle with

0:17:18.440 --> 0:17:22.080
<v Speaker 3>the Nursing Home administration. Still, oh yeah, you can't like

0:17:22.440 --> 0:17:28.320
<v Speaker 3>the West Indian Lady is an is an indefatigable and implacable.

0:17:27.600 --> 0:17:44.960
<v Speaker 1>Force for you. What were your aspirations of did you

0:17:45.040 --> 0:17:47.119
<v Speaker 1>know from the gate that you wanted to be like

0:17:47.240 --> 0:17:49.400
<v Speaker 1>in the social structure?

0:17:50.040 --> 0:17:53.199
<v Speaker 4>I didn't think about it.

0:17:53.280 --> 0:17:55.719
<v Speaker 3>Never occurred to me to think about the future in

0:17:55.760 --> 0:17:58.399
<v Speaker 3>that way, and I still don't in a I'm not

0:17:58.480 --> 0:18:01.040
<v Speaker 3>someone who I'm not a plan and I'm not a

0:18:01.920 --> 0:18:04.720
<v Speaker 3>I don't really think beyond next week.

0:18:04.760 --> 0:18:06.920
<v Speaker 4>I assume or even tomorrow. I assume.

0:18:07.800 --> 0:18:11.400
<v Speaker 3>I'm optimistic enough that I assume things will work out.

0:18:12.040 --> 0:18:14.440
<v Speaker 1>So you've always lived in the present, Yeah, I don't.

0:18:14.480 --> 0:18:16.960
<v Speaker 3>I'm not someone who once the day is over, it

0:18:17.359 --> 0:18:19.080
<v Speaker 3>is erased.

0:18:18.760 --> 0:18:24.239
<v Speaker 1>From my living in this administration, Yeah, forced me to

0:18:24.240 --> 0:18:27.080
<v Speaker 1>start living in the present like right now. Ever, since

0:18:27.119 --> 0:18:30.000
<v Speaker 1>November seventh, my only goal in life is to have

0:18:31.600 --> 0:18:36.280
<v Speaker 1>the best June seventeenth, of twenty twenty five that I

0:18:36.280 --> 0:18:38.439
<v Speaker 1>can have. So will mean I'm not doing it, no, no, no, no,

0:18:38.560 --> 0:18:41.760
<v Speaker 1>I'm not doing a four polow some thank you. But

0:18:42.000 --> 0:18:47.960
<v Speaker 1>previously my thing was literally strategic planning, like professionally, as Questlove,

0:18:48.119 --> 0:18:51.720
<v Speaker 1>my life is planned in three year increments, where I

0:18:51.720 --> 0:18:56.320
<v Speaker 1>at least know that I still have work booked until

0:18:56.600 --> 0:19:01.080
<v Speaker 1>twenty twenty eight. But like living day to day, like

0:19:01.240 --> 0:19:06.240
<v Speaker 1>the undoing of waking up every morning thinking like financially,

0:19:06.359 --> 0:19:12.520
<v Speaker 1>like my bills, my staff, growth, my survival, and so

0:19:12.640 --> 0:19:15.680
<v Speaker 1>for you, is this always like twenty four hours a day.

0:19:16.280 --> 0:19:19.240
<v Speaker 3>I probably have, on an unconscious level all the same

0:19:19.280 --> 0:19:23.920
<v Speaker 3>anxieties you do, but I have, as a psychologist say,

0:19:23.960 --> 0:19:27.480
<v Speaker 3>I'm probably better defended. Living in the present is my

0:19:27.600 --> 0:19:31.800
<v Speaker 3>way of warding off those anxieties. If I open that

0:19:31.880 --> 0:19:35.679
<v Speaker 3>door and start thinking about next year, I worry that

0:19:35.920 --> 0:19:38.439
<v Speaker 3>an avalanche of things will bury me.

0:19:38.560 --> 0:19:41.080
<v Speaker 1>So when you release a book, you're not instantly thinking

0:19:42.359 --> 0:19:44.280
<v Speaker 1>what's my next project in two years?

0:19:44.359 --> 0:19:49.479
<v Speaker 4>Or no I have I know what I'm working on now.

0:19:49.520 --> 0:19:53.480
<v Speaker 3>But what I know is that the process of inspiration

0:19:54.600 --> 0:19:59.600
<v Speaker 3>is so serendipitous and unpredictable that it's just foolish to

0:19:59.600 --> 0:20:01.960
<v Speaker 3>try and plant it out. It will always like I

0:20:02.040 --> 0:20:05.160
<v Speaker 3>was doing this thing this, I'm doing this big podcast

0:20:05.200 --> 0:20:09.080
<v Speaker 3>right now, which is this long series about a true

0:20:09.080 --> 0:20:13.520
<v Speaker 3>crime thing about a murder in Alabama, And I thought

0:20:13.520 --> 0:20:14.639
<v Speaker 3>I was going to do it one way. And then

0:20:14.680 --> 0:20:18.560
<v Speaker 3>I go and make a reporting trip to Muscle Sholes.

0:20:18.920 --> 0:20:22.439
<v Speaker 3>It'square the stake place in the Quad Cities. Muscle Sholes

0:20:23.080 --> 0:20:27.320
<v Speaker 3>is Alabama. Yeah, Florence, Discumbria. And I'm sitting in a

0:20:27.320 --> 0:20:30.840
<v Speaker 3>coffee shop in Florence, Alabama, and a guy comes up

0:20:30.880 --> 0:20:32.399
<v Speaker 3>to me and says, hey, you're Malcolm Melalla.

0:20:32.520 --> 0:20:33.440
<v Speaker 4>What you What are you doing here?

0:20:33.440 --> 0:20:36.399
<v Speaker 3>Oh, I'm doing this thing about this murder took place

0:20:36.440 --> 0:20:39.080
<v Speaker 3>forty years ago. He goes, oh, yeah, yeah, you know

0:20:39.119 --> 0:20:42.040
<v Speaker 3>you should talk to my friend Grant. I was like, okay,

0:20:42.520 --> 0:20:44.280
<v Speaker 3>So I call up Grant. He's like, oh yeah, I

0:20:44.359 --> 0:20:47.439
<v Speaker 3>know all about that. And Grant fixes me up with

0:20:47.560 --> 0:20:51.280
<v Speaker 3>like fifteen people who knew everything about this murder. And

0:20:51.320 --> 0:20:53.080
<v Speaker 3>then I go back in the second time and I

0:20:53.080 --> 0:20:54.760
<v Speaker 3>meet some of those people, and then one of the

0:20:54.760 --> 0:20:58.920
<v Speaker 3>guys says, Oh, my friend Ricky, who I have breakfast

0:20:59.000 --> 0:21:01.760
<v Speaker 3>with every morning, he actually investigated murder.

0:21:01.760 --> 0:21:03.200
<v Speaker 4>I thought everyone who investigated with dad.

0:21:03.520 --> 0:21:04.960
<v Speaker 3>So I just like get in my car and drive

0:21:05.000 --> 0:21:06.919
<v Speaker 3>one mile and there's Ricky and Ricky tells me everything

0:21:07.200 --> 0:21:10.280
<v Speaker 3>like if that's your that's to my mind, is the

0:21:10.280 --> 0:21:12.800
<v Speaker 3>way not just the world works. But it's the way

0:21:12.840 --> 0:21:17.840
<v Speaker 3>that creative process works is you just put yourself in

0:21:17.920 --> 0:21:22.640
<v Speaker 3>harm's way of something and things will hit you. And

0:21:23.960 --> 0:21:27.960
<v Speaker 3>I kind of, on some level have a confidence. The

0:21:28.040 --> 0:21:30.960
<v Speaker 3>reason I went there is on some unconscious level, I

0:21:31.040 --> 0:21:32.880
<v Speaker 3>knew that I would have an encounter like that one

0:21:32.920 --> 0:21:35.480
<v Speaker 3>in the coffee shop. Maybe it was I didn't inveage

0:21:35.520 --> 0:21:37.880
<v Speaker 3>in that particular thing, but I knew if I went

0:21:37.960 --> 0:21:40.760
<v Speaker 3>there something would come out of it.

0:21:40.800 --> 0:21:41.920
<v Speaker 4>So I went there without a plan.

0:21:42.040 --> 0:21:47.000
<v Speaker 1>I like, what's your creative ecosystem, Like, are you just

0:21:47.040 --> 0:21:49.960
<v Speaker 1>a circle of one? Or do you least have someone

0:21:50.000 --> 0:21:52.760
<v Speaker 1>that bounce ideas off of someone that says that's not

0:21:52.840 --> 0:21:53.320
<v Speaker 1>a good look?

0:21:53.440 --> 0:21:57.480
<v Speaker 3>Or I have Informally, I think I have a fair

0:21:57.480 --> 0:22:03.120
<v Speaker 3>amount of that. I'm operating within and Pushkin my audio company,

0:22:03.200 --> 0:22:07.200
<v Speaker 3>where I have a built in ecosystem of editors and

0:22:07.640 --> 0:22:09.679
<v Speaker 3>when we have you know, table reads where we and

0:22:10.520 --> 0:22:12.280
<v Speaker 3>where I read stuff alout and get feedback.

0:22:12.280 --> 0:22:14.040
<v Speaker 4>And I've realized how valuable that is.

0:22:14.320 --> 0:22:17.199
<v Speaker 3>What I've always believed is that if you have an idea,

0:22:17.240 --> 0:22:19.919
<v Speaker 3>what you should do is talk about it obsessively. So

0:22:20.280 --> 0:22:22.560
<v Speaker 3>the minute you have what you think is a special idea,

0:22:22.560 --> 0:22:23.800
<v Speaker 3>the first thing you should do is share it with

0:22:23.800 --> 0:22:27.520
<v Speaker 3>as many people as humanly possible, which is counterintuitive, right,

0:22:27.520 --> 0:22:31.280
<v Speaker 3>because your instinct is to hold on to something that

0:22:31.320 --> 0:22:33.720
<v Speaker 3>you think is special. But you have to fight that

0:22:33.800 --> 0:22:38.400
<v Speaker 3>instinct because only it's not just that there is value on.

0:22:38.359 --> 0:22:41.440
<v Speaker 4>People tell you when they hear the idea, but there

0:22:41.520 --> 0:22:42.640
<v Speaker 4>is value in you.

0:22:44.280 --> 0:22:48.760
<v Speaker 3>Iterating on the idea in conversation because you will. You

0:22:48.800 --> 0:22:52.000
<v Speaker 3>won't explain it the same way twice. The tenth time

0:22:52.040 --> 0:22:54.119
<v Speaker 3>you've explaining it to someone, you realize you're explaining it

0:22:54.119 --> 0:22:56.600
<v Speaker 3>in a totally different way, because it's the same way

0:22:56.680 --> 0:23:01.000
<v Speaker 3>up a stand up comic does for months of practice

0:23:01.200 --> 0:23:04.440
<v Speaker 3>in comedy bys before they do their Netflix special, right,

0:23:04.960 --> 0:23:09.600
<v Speaker 3>because it's incredibly valuable to say something to somebody and

0:23:09.680 --> 0:23:13.399
<v Speaker 3>to listen to their pauses, and to a musician is

0:23:13.440 --> 0:23:16.000
<v Speaker 3>the same way, right, And so I think you had to.

0:23:16.680 --> 0:23:17.480
<v Speaker 4>You have to if you're a.

0:23:17.440 --> 0:23:21.960
<v Speaker 3>Writer, you have to build that into your sort of practice.

0:23:22.520 --> 0:23:25.600
<v Speaker 3>And so I have a really good friend who's a

0:23:25.680 --> 0:23:29.680
<v Speaker 3>very successful screenwriter and my best friend, and I tell

0:23:29.760 --> 0:23:30.320
<v Speaker 3>him everything.

0:23:30.640 --> 0:23:34.880
<v Speaker 4>I just watch his eyes and he will.

0:23:34.680 --> 0:23:36.560
<v Speaker 3>Let you know if he just didn't work for him,

0:23:36.640 --> 0:23:38.719
<v Speaker 3>or if it's why are you doing it?

0:23:38.760 --> 0:23:40.119
<v Speaker 4>That, like, he's really honest, you know.

0:23:40.200 --> 0:23:42.240
<v Speaker 1>And I was going to say, are people lowed to

0:23:42.240 --> 0:23:45.240
<v Speaker 1>be honest with you? Even now that you're Malcolm glad

0:23:45.280 --> 0:23:48.160
<v Speaker 1>Well You're past You're an adjective. People now just say

0:23:48.200 --> 0:23:50.960
<v Speaker 1>glad Wellian or like in describing.

0:23:51.160 --> 0:23:53.000
<v Speaker 4>Usually in disparagement. But yes, they do.

0:23:53.080 --> 0:23:56.600
<v Speaker 1>Use that glad Wellian theory.

0:23:56.840 --> 0:24:02.000
<v Speaker 3>No, because the older and more successful I've gotten, the

0:24:02.040 --> 0:24:05.480
<v Speaker 3>more willing I am to accept criticism because like I

0:24:05.480 --> 0:24:08.680
<v Speaker 3>don't have any the stake so lower, right, Like.

0:24:09.520 --> 0:24:12.560
<v Speaker 1>When's the first time you got pushed back for one

0:24:12.560 --> 0:24:13.240
<v Speaker 1>of your theories?

0:24:14.160 --> 0:24:17.120
<v Speaker 4>Oh? Well, I mean so often I can't even keep trying.

0:24:17.160 --> 0:24:19.960
<v Speaker 1>When's the first time you took it personal? I'm only

0:24:20.000 --> 0:24:23.239
<v Speaker 1>asking this simply because the irony is, of course, you know,

0:24:23.520 --> 0:24:26.479
<v Speaker 1>I read your book in two thousand, right when the

0:24:26.520 --> 0:24:31.520
<v Speaker 1>height of my recording career was just starting. And you know,

0:24:31.920 --> 0:24:37.359
<v Speaker 1>the one album in my canon that's kind of like

0:24:37.400 --> 0:24:42.840
<v Speaker 1>the Redheaded Stepchild is The Tipping Point, which that's the

0:24:42.880 --> 0:24:45.760
<v Speaker 1>first time, you know, as someone that was a straight

0:24:45.800 --> 0:24:48.920
<v Speaker 1>a student with critics and always on the top ten

0:24:48.960 --> 0:24:50.520
<v Speaker 1>lists at the end of the year and all that stuff,

0:24:50.560 --> 0:24:53.560
<v Speaker 1>that's the first time we got pushback and so wow,

0:24:53.560 --> 0:24:58.520
<v Speaker 1>when people are like, but we're still friends, We're still

0:24:58.880 --> 0:25:02.720
<v Speaker 1>no non playing, No, we are. But for you, though,

0:25:04.000 --> 0:25:07.960
<v Speaker 1>what now? I have a good relationship with what they

0:25:08.040 --> 0:25:14.560
<v Speaker 1>call failure one. I don't take the undesirable result as

0:25:14.640 --> 0:25:18.160
<v Speaker 1>personal as I used to. And you know, it's depressing,

0:25:18.240 --> 0:25:22.240
<v Speaker 1>like I'd have many times. I've had panic attacks, and

0:25:22.440 --> 0:25:24.800
<v Speaker 1>you know, artists are always in their head and all

0:25:24.800 --> 0:25:27.720
<v Speaker 1>that stuff. But for you, though, you just you knew

0:25:27.760 --> 0:25:29.480
<v Speaker 1>out the gate ped No.

0:25:29.640 --> 0:25:31.320
<v Speaker 4>It's I don't.

0:25:32.119 --> 0:25:35.920
<v Speaker 3>My feeling is it's you know, I'm a distance runner

0:25:36.760 --> 0:25:43.520
<v Speaker 3>and that has really powerfully shaped my perspective on life.

0:25:43.600 --> 0:25:46.280
<v Speaker 3>And I really, I mean it sounds corny, but I'm

0:25:46.320 --> 0:25:50.240
<v Speaker 3>running a very long race. So somebody disliking a critic

0:25:50.280 --> 0:25:53.160
<v Speaker 3>attacking something that I've done is like someone pulls ahead

0:25:53.200 --> 0:25:55.040
<v Speaker 3>of you in lap two and my position is well,

0:25:55.400 --> 0:25:58.680
<v Speaker 3>but the race is fifty laps, so like, who care?

0:25:58.760 --> 0:26:01.520
<v Speaker 3>I mean not, who cares? It her at sea will sting.

0:26:02.200 --> 0:26:06.640
<v Speaker 3>But it's not a terminal, it's not devastating. I once

0:26:06.680 --> 0:26:09.560
<v Speaker 3>read years ago this thing that has always stayed with me,

0:26:09.600 --> 0:26:12.320
<v Speaker 3>which I think is incredibly interesting. It was a guy

0:26:12.400 --> 0:26:15.159
<v Speaker 3>named Dean Simonson who studied creativity he was trying to

0:26:15.160 --> 0:26:20.639
<v Speaker 3>figure out what distinguishes highly created people from people who

0:26:20.680 --> 0:26:23.520
<v Speaker 3>are not as creative, and his initial thought was a

0:26:23.560 --> 0:26:27.160
<v Speaker 3>creative person, a successful creative person, a genius is someone

0:26:27.200 --> 0:26:29.480
<v Speaker 3>who has a higher hit rate. So for every ten

0:26:29.520 --> 0:26:33.000
<v Speaker 3>ideas they have, eight would be good, whereas someone who

0:26:33.080 --> 0:26:36.840
<v Speaker 3>was mediocre, they'd have ten ideas and they'd have two

0:26:36.920 --> 0:26:37.640
<v Speaker 3>of them would be good.

0:26:37.960 --> 0:26:38.760
<v Speaker 4>That's what he thought.

0:26:39.160 --> 0:26:42.400
<v Speaker 3>He does this long, complicated analysis of like two hundred geniuses,

0:26:42.400 --> 0:26:46.080
<v Speaker 3>and he realizes he's totally wrong. The hit rate is

0:26:46.200 --> 0:26:50.520
<v Speaker 3>exactly the same, except that the genius has ten times

0:26:50.560 --> 0:26:54.880
<v Speaker 3>as many ideas. So like by definition, the genius has

0:26:54.920 --> 0:26:57.800
<v Speaker 3>more failures than the mediocre person because their output is

0:26:57.840 --> 0:27:01.200
<v Speaker 3>just greater. Right, I thought that was It's so interesting

0:27:01.480 --> 0:27:04.600
<v Speaker 3>Einstein has a jillion bad ideas, but he has so

0:27:04.760 --> 0:27:06.480
<v Speaker 3>many ideas it doesn't matter.

0:27:07.400 --> 0:27:11.639
<v Speaker 1>Well, let me ask you them, because, uh, kind of

0:27:11.680 --> 0:27:17.200
<v Speaker 1>in my field of work, you know, oftentimes, especially in music,

0:27:17.240 --> 0:27:23.040
<v Speaker 1>the word genius is completely overused. And you know, I'm

0:27:23.080 --> 0:27:27.760
<v Speaker 1>also in a field of entertainment in which those that

0:27:27.800 --> 0:27:33.320
<v Speaker 1>put numbers on the board are often rewarded with accolades

0:27:33.400 --> 0:27:37.040
<v Speaker 1>and that sort of thing, and oftentimes people that I

0:27:37.160 --> 0:27:40.080
<v Speaker 1>really think that are making artistic strides and whatever they

0:27:40.119 --> 0:27:45.879
<v Speaker 1>do don't get hits whatever. So in music especially, I

0:27:46.040 --> 0:27:49.560
<v Speaker 1>tend to think that the geniuses are often overlooked and

0:27:50.080 --> 0:27:53.040
<v Speaker 1>under celebrated, as opposed to oh, I had a good

0:27:53.040 --> 0:27:55.399
<v Speaker 1>idea and it works. I mean, do you agree with

0:27:55.440 --> 0:27:56.280
<v Speaker 1>that or yeah?

0:27:56.280 --> 0:27:58.480
<v Speaker 3>I'm not what I'm talking about success in this context,

0:27:58.520 --> 0:28:02.960
<v Speaker 3>I'm not necessarily necessarily talking about commercial success. Like to

0:28:03.000 --> 0:28:07.119
<v Speaker 3>go back to my Paul Simon, one of my favorite artists.

0:28:07.480 --> 0:28:10.719
<v Speaker 3>I thought his last album, which was done when he

0:28:10.760 --> 0:28:15.240
<v Speaker 3>was whatever, eighty seven seals, it might be my favorite

0:28:15.280 --> 0:28:16.399
<v Speaker 3>Paul Simon album.

0:28:16.760 --> 0:28:20.080
<v Speaker 4>So that's in his repertoire. What is that number?

0:28:20.160 --> 0:28:22.920
<v Speaker 3>I don't know, eighteen, I don't know how many albums

0:28:22.960 --> 0:28:27.800
<v Speaker 3>he's done. But to my mind, what qualifies him as

0:28:28.040 --> 0:28:31.480
<v Speaker 3>being at the very top of the pinnacle is sustained

0:28:31.600 --> 0:28:36.119
<v Speaker 3>excellence over a very long period and an unwillingness to

0:28:36.280 --> 0:28:40.960
<v Speaker 3>accept the notion that he he didn't stop, He didn't

0:28:40.960 --> 0:28:44.360
<v Speaker 3>sort of accept the fact that his commercial decline was

0:28:44.360 --> 0:28:49.640
<v Speaker 3>somehow indicative of his own creative failure. He persisted, and

0:28:50.160 --> 0:28:53.720
<v Speaker 3>I think seven seals, seven seals like it took me

0:28:53.840 --> 0:28:57.920
<v Speaker 3>like five listens by the fifth listen, I was like.

0:28:58.040 --> 0:28:59.320
<v Speaker 4>This is unbelievable.

0:28:59.600 --> 0:29:03.800
<v Speaker 3>This is such a mature, complicated, brilliant more than a

0:29:03.840 --> 0:29:07.920
<v Speaker 3>summation of his previous work, but a departure in this

0:29:08.000 --> 0:29:11.680
<v Speaker 3>really beautiful way. And that's what I'm talking about that

0:29:11.760 --> 0:29:14.040
<v Speaker 3>he had he'd be the first time. He's had some

0:29:14.080 --> 0:29:17.160
<v Speaker 3>crappy albums along the way. But that's my point that

0:29:17.600 --> 0:29:21.760
<v Speaker 3>the truly creative person is defined by their productivity and

0:29:22.040 --> 0:29:24.400
<v Speaker 3>not by their success rate.

0:29:25.160 --> 0:29:30.240
<v Speaker 1>I call it the Thriller effect. So the Thriller effect

0:29:30.280 --> 0:29:35.000
<v Speaker 1>to me was, you know, when Michael Jackson's previous album,

0:29:35.000 --> 0:29:37.280
<v Speaker 1>Off the Wall came out, it was critically acclaimed and

0:29:37.440 --> 0:29:41.320
<v Speaker 1>it was a success. It sold eight million copies. He

0:29:41.360 --> 0:29:43.040
<v Speaker 1>thought it was a failure because he only got two

0:29:43.120 --> 0:29:47.640
<v Speaker 1>Grammy nominations and basically had his joker, what way they

0:29:47.680 --> 0:29:49.800
<v Speaker 1>get a load of me? Like that was his Thriller

0:29:49.920 --> 0:29:52.160
<v Speaker 1>is going to be his revenge. Now, the thing is,

0:29:52.400 --> 0:29:56.920
<v Speaker 1>as an artistic statement, Thriller is a success, but what

0:29:57.080 --> 0:30:03.000
<v Speaker 1>happens is people the conversation of Thriller was the first time,

0:30:03.120 --> 0:30:08.960
<v Speaker 1>especially music in which the quantity was at focus and

0:30:09.000 --> 0:30:10.920
<v Speaker 1>not the quality of it. So in other words, it

0:30:11.120 --> 0:30:15.320
<v Speaker 1>won eight Grammys, it's old sixty four, blah blah blah,

0:30:15.320 --> 0:30:18.920
<v Speaker 1>a million, it made him hundreds of hundreds and hundreds

0:30:18.960 --> 0:30:22.920
<v Speaker 1>of millions of dollars. So and then suddenly that became

0:30:22.960 --> 0:30:25.920
<v Speaker 1>our north star. And I understand the need for survival

0:30:25.960 --> 0:30:30.560
<v Speaker 1>and security, especially for black artist is important. But suddenly

0:30:31.840 --> 0:30:34.760
<v Speaker 1>that to me is sort of when the conversation changed

0:30:34.920 --> 0:30:39.400
<v Speaker 1>with art, where now it's like how many units did

0:30:39.400 --> 0:30:40.240
<v Speaker 1>you sell? How many?

0:30:40.680 --> 0:30:40.880
<v Speaker 4>Yeah?

0:30:41.360 --> 0:30:43.920
<v Speaker 1>Do you think that's problematic? Like can we ever get

0:30:43.960 --> 0:30:50.520
<v Speaker 1>to a place where people genuinely judge art or just

0:30:50.560 --> 0:30:55.640
<v Speaker 1>get taste? I think taste is kind of the I

0:30:55.640 --> 0:30:58.840
<v Speaker 1>don't know if we still have good taste and are

0:30:58.960 --> 0:31:00.640
<v Speaker 1>chasing success.

0:31:01.320 --> 0:31:05.320
<v Speaker 3>The kind of thought experiment is, would your cultural consumption

0:31:05.520 --> 0:31:09.320
<v Speaker 3>be different if you were unaware of any of those

0:31:09.920 --> 0:31:14.479
<v Speaker 3>indices of creative work success? So if you never knew

0:31:15.160 --> 0:31:17.840
<v Speaker 3>where a song charted when you listen to the song,

0:31:17.920 --> 0:31:20.840
<v Speaker 3>if you never knew whether a book was a bestseller

0:31:20.920 --> 0:31:22.880
<v Speaker 3>or not when you read the book, or on and

0:31:22.960 --> 0:31:27.480
<v Speaker 3>on and on. I kind of think our choices and

0:31:27.520 --> 0:31:33.040
<v Speaker 3>our preferences would be quite different. And I'm guessing in

0:31:33.080 --> 0:31:34.640
<v Speaker 3>a really lovely way.

0:31:35.160 --> 0:31:38.400
<v Speaker 1>That is correct. So often my friends laugh at my

0:31:38.560 --> 0:31:44.000
<v Speaker 1>rock choices because my rock knowledge is coming from that

0:31:44.120 --> 0:31:47.520
<v Speaker 1>standpoint that I will get something without me knowing the

0:31:47.880 --> 0:31:51.240
<v Speaker 1>history or the background of it. In other words, the

0:31:51.280 --> 0:31:55.160
<v Speaker 1>first Dylan record I like was Self Portrait, which was

0:31:55.200 --> 0:31:57.760
<v Speaker 1>like the Christian phase of Dylan, which critics were like,

0:31:58.160 --> 0:32:01.239
<v Speaker 1>get out, you know, they didn't like it, and I

0:32:01.360 --> 0:32:05.000
<v Speaker 1>dug it because I didn't have the knowledge of it.

0:32:05.120 --> 0:32:09.920
<v Speaker 1>Or even with the the Stones releasing an emotional rescue,

0:32:10.240 --> 0:32:13.800
<v Speaker 1>or when rat on Hum came out from you like,

0:32:14.000 --> 0:32:16.400
<v Speaker 1>if it's critically bad, then that's the album.

0:32:16.440 --> 0:32:18.240
<v Speaker 3>I like, well, you were seeing it. It's like my

0:32:18.400 --> 0:32:20.600
<v Speaker 3>mom with Working Girl. You were seeing it with fresh

0:32:20.640 --> 0:32:22.760
<v Speaker 3>eyes right exactly.

0:32:23.200 --> 0:32:25.880
<v Speaker 1>And only then like years later, I was like, oh

0:32:25.920 --> 0:32:28.960
<v Speaker 1>that Almo was critically planned or people think that that's

0:32:29.000 --> 0:32:33.000
<v Speaker 1>his worst album. Yeah, Dylan fans hated that record, but

0:32:33.520 --> 0:32:36.440
<v Speaker 1>one I liked it because as a hip hop artist,

0:32:36.440 --> 0:32:38.920
<v Speaker 1>it's just like at least four gems on there that

0:32:39.400 --> 0:32:42.720
<v Speaker 1>I hear music different than you know, the average person.

0:32:42.840 --> 0:32:46.280
<v Speaker 1>So but I believe that's true if you don't have

0:32:46.360 --> 0:32:48.080
<v Speaker 1>the knowledge of Yeah.

0:32:48.440 --> 0:32:50.120
<v Speaker 3>A lot of this also has to do with the

0:32:50.240 --> 0:32:56.200
<v Speaker 3>kind of failure of the critical function cultural function in society.

0:32:56.640 --> 0:32:59.880
<v Speaker 3>So in its original sense. The role of critics was

0:33:00.320 --> 0:33:04.840
<v Speaker 3>to help us understand the intention of the artists, right.

0:33:05.520 --> 0:33:09.360
<v Speaker 3>It wasn't to kind of pass judgment on whether we

0:33:09.440 --> 0:33:12.720
<v Speaker 3>thought we it was in my I mean I mean,

0:33:12.760 --> 0:33:14.880
<v Speaker 3>I don't mean when I say original, I mean in

0:33:14.920 --> 0:33:18.280
<v Speaker 3>the best sense of what criticism was supposed to do.

0:33:18.360 --> 0:33:21.200
<v Speaker 1>I thought, after like Lester Bangs and seventy three, like

0:33:21.240 --> 0:33:24.320
<v Speaker 1>the whole point of critics was just a flex for

0:33:24.440 --> 0:33:26.520
<v Speaker 1>each other, like watch this take.

0:33:26.560 --> 0:33:30.920
<v Speaker 3>Maybe I'm talking pre seventy three then okay, But when

0:33:30.920 --> 0:33:34.760
<v Speaker 3>I say original, I mean original, original, or at least how.

0:33:34.600 --> 0:33:36.480
<v Speaker 4>We would like criticism to work.

0:33:37.200 --> 0:33:41.200
<v Speaker 3>Is it someone who knows more than us about a

0:33:41.200 --> 0:33:45.120
<v Speaker 3>cultural subject helps us to understand the intention of the

0:33:45.160 --> 0:33:48.920
<v Speaker 3>work of art and whether the art succeeds it by

0:33:48.960 --> 0:33:51.160
<v Speaker 3>its own and according to its own intentions.

0:33:51.680 --> 0:33:51.960
<v Speaker 4>Right.

0:33:52.120 --> 0:33:55.080
<v Speaker 3>In other words, the critic has to be faceless and

0:33:55.160 --> 0:33:59.320
<v Speaker 3>selfless in their evaluation. That notion has gone out the window,

0:33:59.360 --> 0:34:02.520
<v Speaker 3>and with the result, it has corrupted.

0:34:02.760 --> 0:34:05.240
<v Speaker 4>Our appreciation of a lot of art.

0:34:05.920 --> 0:34:09.480
<v Speaker 3>And instead of helping me understand, well, why is you know,

0:34:10.560 --> 0:34:13.840
<v Speaker 3>pat sounds a great album. I listened to that and

0:34:13.880 --> 0:34:16.680
<v Speaker 3>I think I can't what is this about? I need

0:34:16.719 --> 0:34:18.839
<v Speaker 3>someone to help me. I feel the same way about

0:34:19.280 --> 0:34:22.160
<v Speaker 3>I once trod something about Norm McDonald, who was the

0:34:23.160 --> 0:34:26.040
<v Speaker 3>Comedians comedian, and I would listen to all these routines

0:34:26.040 --> 0:34:27.799
<v Speaker 3>and I would be like, you know, I don't find I.

0:34:27.760 --> 0:34:29.160
<v Speaker 1>Never even get a file.

0:34:29.560 --> 0:34:33.040
<v Speaker 3>It worked for me, but I knew that people who

0:34:33.120 --> 0:34:36.320
<v Speaker 3>knew a lot about comedy thought he was a genius.

0:34:36.760 --> 0:34:39.000
<v Speaker 3>And what I wanted was someone who knew a lot

0:34:39.000 --> 0:34:41.560
<v Speaker 3>about comedy to tell me why they thought he was

0:34:41.600 --> 0:34:44.880
<v Speaker 3>a genius. My first thought it was like, I don't

0:34:44.960 --> 0:34:47.839
<v Speaker 3>like this, but people who know more than me do,

0:34:48.080 --> 0:34:51.040
<v Speaker 3>and so my first thought was curiosity about Okay, what

0:34:51.120 --> 0:34:53.880
<v Speaker 3>am I missing? So the critic's role is to explain

0:34:53.960 --> 0:34:56.279
<v Speaker 3>to me what I'm missing it. Maybe he doesn't get

0:34:56.280 --> 0:34:58.120
<v Speaker 3>me to the point where I love Norm McDonald, but

0:34:58.200 --> 0:35:00.400
<v Speaker 3>it gets me to the point where I receive spect

0:35:00.440 --> 0:35:04.000
<v Speaker 3>normal right. But when critics have abandoned that role and

0:35:04.000 --> 0:35:06.719
<v Speaker 3>they're simply saying I hate this, it didn't work for me,

0:35:06.880 --> 0:35:11.680
<v Speaker 3>or this art is violating some ideological predisposition I have,

0:35:11.880 --> 0:35:14.759
<v Speaker 3>it's like, well, what's the point of your criticism? Like

0:35:15.440 --> 0:35:17.160
<v Speaker 3>why don't I just walk down the street and like

0:35:17.239 --> 0:35:20.000
<v Speaker 3>ask some random person what they think of it.

0:35:19.920 --> 0:35:22.480
<v Speaker 4>Right, So it's like the failure of that.

0:35:22.480 --> 0:35:27.560
<v Speaker 3>That's why I say that when we remove evidence of

0:35:27.640 --> 0:35:31.759
<v Speaker 3>something's marketplace power, essentially what we're doing is we are

0:35:31.800 --> 0:35:35.040
<v Speaker 3>removing a kind of criticism, right, a bad criticism, and

0:35:35.080 --> 0:35:36.920
<v Speaker 3>allowing us to see the art with fresh eyes.

0:35:37.200 --> 0:35:41.800
<v Speaker 1>Side note, has anyone ever sent you Norm McDonald's chorus

0:35:41.960 --> 0:35:43.680
<v Speaker 1>Leachman roast?

0:35:44.080 --> 0:35:44.960
<v Speaker 4>Duh?

0:35:45.040 --> 0:35:49.359
<v Speaker 1>Okay, this is what I gotta tell you. So this

0:35:49.400 --> 0:35:53.439
<v Speaker 1>is what I thought was genius because you've seen those

0:35:53.440 --> 0:35:56.719
<v Speaker 1>like celebrity roasts that they have on Comedy Central. So

0:35:56.840 --> 0:36:02.800
<v Speaker 1>Chlorus Leachman is getting roasted, and or McDonald decides early

0:36:02.920 --> 0:36:05.920
<v Speaker 1>that he's going to fall on his sword, but not

0:36:06.160 --> 0:36:09.480
<v Speaker 1>in that the Aristocrats way. Are you guys familiar with

0:36:09.480 --> 0:36:13.279
<v Speaker 1>the Aristocrats joke? It's a joke where if a comedian

0:36:14.440 --> 0:36:18.759
<v Speaker 1>is having a bad set on stage, he will somehow

0:36:19.200 --> 0:36:22.120
<v Speaker 1>signal to his friends in the back, his fellow comedians,

0:36:22.680 --> 0:36:27.040
<v Speaker 1>that I failed, and he'll tell this Aristocrats joke, clearly

0:36:27.400 --> 0:36:31.239
<v Speaker 1>freaking out the audience. But you know, he's again performing

0:36:31.280 --> 0:36:35.000
<v Speaker 1>for the eight people in the back. So McDonald decides

0:36:35.120 --> 0:36:40.280
<v Speaker 1>that he is going to tell not even flat jokes,

0:36:40.560 --> 0:36:45.319
<v Speaker 1>but horrible jokes, but he's not going to wink, like

0:36:45.360 --> 0:36:48.040
<v Speaker 1>there's a way where you're going to give a bad performance. Yeah,

0:36:48.360 --> 0:36:51.080
<v Speaker 1>but maybe thirty seconds suit and to it, you'll like

0:36:51.160 --> 0:36:54.279
<v Speaker 1>win to the audience, like I'm doing this on purpose.

0:36:54.000 --> 0:36:56.920
<v Speaker 4>Like he would not portray that dude the way.

0:36:57.400 --> 0:36:59.560
<v Speaker 1>The first of all his set was like ten minutes

0:37:00.480 --> 0:37:03.719
<v Speaker 1>and the collective look of horror on the people in

0:37:03.760 --> 0:37:06.759
<v Speaker 1>the audience, like you know when you're forcing yourself to

0:37:06.840 --> 0:37:09.440
<v Speaker 1>laugh at somebody like I was normally that I was funny,

0:37:09.560 --> 0:37:13.120
<v Speaker 1>but they were all looking like he lost it or

0:37:13.800 --> 0:37:17.000
<v Speaker 1>but he did it on purpose, like he never once

0:37:17.120 --> 0:37:19.640
<v Speaker 1>let up, like psych I was reading these jokes from

0:37:19.680 --> 0:37:22.040
<v Speaker 1>a nineteen forty joke, that's what he was doing. He

0:37:22.080 --> 0:37:24.680
<v Speaker 1>got a joke book from nineteen forty to see if

0:37:24.680 --> 0:37:28.320
<v Speaker 1>I could work in the new millennial and it didn't.

0:37:28.960 --> 0:37:33.120
<v Speaker 1>And he literally didn't care. And you know, at the

0:37:33.160 --> 0:37:36.120
<v Speaker 1>time when I'm in therapy, one of the things I

0:37:36.120 --> 0:37:40.280
<v Speaker 1>had to learn was you have to care so much

0:37:40.760 --> 0:37:46.000
<v Speaker 1>that you don't care, you know, like that's zero Fox

0:37:46.480 --> 0:37:50.279
<v Speaker 1>times twelve billion, where you just operat in life where

0:37:50.280 --> 0:37:54.319
<v Speaker 1>you literally don't care what people think. And yeah, once

0:37:54.360 --> 0:37:57.000
<v Speaker 1>I saw that, then I looked at his.

0:37:57.200 --> 0:38:00.200
<v Speaker 3>It's a classic thing that insiders do for other insiders,

0:38:00.239 --> 0:38:04.360
<v Speaker 3>which is, for the outsider, what you're interested in is

0:38:04.440 --> 0:38:08.920
<v Speaker 3>the quality of the spectacle, without absent any kind of

0:38:09.040 --> 0:38:14.400
<v Speaker 3>larger context. What the insider's interested in is that plus

0:38:14.520 --> 0:38:19.120
<v Speaker 3>degree of difficulty. So the reason the comedians are laughing

0:38:19.120 --> 0:38:22.600
<v Speaker 3>at Norm McDonald is they understand that what he's doing

0:38:22.680 --> 0:38:27.640
<v Speaker 3>is insanely difficult and courageous, and they know they could

0:38:27.719 --> 0:38:30.120
<v Speaker 3>never pull it off themselves, and it's hilarious to them

0:38:30.480 --> 0:38:32.960
<v Speaker 3>that they know someone who would attempt it. Right, you

0:38:33.160 --> 0:38:39.120
<v Speaker 3>have to have done stand up and bombed to know

0:38:39.280 --> 0:38:42.320
<v Speaker 3>why that's genius. And I've not done stand up and bombs,

0:38:42.360 --> 0:38:44.560
<v Speaker 3>so I don't know that feeling right. So that's why

0:38:44.880 --> 0:38:48.000
<v Speaker 3>it's inaccessible to me. But I still understand why it's

0:38:48.040 --> 0:38:50.040
<v Speaker 3>appealing to the insider.

0:38:50.120 --> 0:38:53.319
<v Speaker 1>Well, let me ask you, Ben, could you pull off

0:38:53.480 --> 0:38:57.560
<v Speaker 1>a children's book, a book for a three year old

0:38:57.600 --> 0:39:04.200
<v Speaker 1>where you're limited to just if that sixty words? Yeah,

0:39:04.239 --> 0:39:05.439
<v Speaker 1>do you think you can pull it off?

0:39:05.480 --> 0:39:07.439
<v Speaker 3>Well? I have a three year old and I tell

0:39:07.480 --> 0:39:13.640
<v Speaker 3>her I make up bedtime stories. Does that count?

0:39:15.320 --> 0:39:17.440
<v Speaker 1>Well? I mean, but that's that's in the safety of

0:39:17.480 --> 0:39:20.960
<v Speaker 1>your your your own bubble, Like, yeah, could you release

0:39:21.080 --> 0:39:24.120
<v Speaker 1>a children's book and be as effective in thatgy?

0:39:24.719 --> 0:39:24.799
<v Speaker 3>No?

0:39:25.160 --> 0:39:25.759
<v Speaker 1>You know't think so?

0:39:26.640 --> 0:39:28.759
<v Speaker 4>No, I think, actually could I do it?

0:39:28.840 --> 0:39:30.920
<v Speaker 3>I mean, now that I know children's books because I

0:39:30.960 --> 0:39:33.760
<v Speaker 3>have a three year old, I'm aware of that eighty

0:39:33.760 --> 0:39:37.400
<v Speaker 3>five to ninety percent of them are really terrible. So

0:39:37.440 --> 0:39:40.040
<v Speaker 3>I'm aware of how hard it's really hard to make

0:39:40.040 --> 0:39:42.720
<v Speaker 3>a good look. Really, I don't I'm not dissing children's

0:39:42.719 --> 0:39:47.640
<v Speaker 3>books writers, but the genre is fiendishly difficult, it is,

0:39:48.440 --> 0:39:52.200
<v Speaker 3>and so I don't think absent like a good ten

0:39:52.280 --> 0:39:54.960
<v Speaker 3>years of immersion in that. Like even when I'm telling

0:39:54.960 --> 0:39:57.520
<v Speaker 3>a story to my daughter. I told her story for

0:39:57.560 --> 0:40:00.000
<v Speaker 3>like a couple of weeks and now she's like no, no, no, Daddy,

0:40:00.160 --> 0:40:03.600
<v Speaker 3>Like she gives me the story. It's like, we're going

0:40:03.640 --> 0:40:05.640
<v Speaker 3>to do a story by cat Is called Biggie Smalls.

0:40:06.280 --> 0:40:09.480
<v Speaker 3>So she says, Biggie Smalls is going to be, you know,

0:40:09.640 --> 0:40:12.719
<v Speaker 3>out at a party with his best friend something like go.

0:40:13.920 --> 0:40:15.320
<v Speaker 1>So she doesn't even premise.

0:40:15.520 --> 0:40:16.160
<v Speaker 4>She doesn't even.

0:40:16.000 --> 0:40:19.200
<v Speaker 3>Trust me anymore. Like basically she's saying, Daddy, you're set up, suck.

0:40:20.120 --> 0:40:22.360
<v Speaker 3>I have to step in here, and like this is

0:40:22.400 --> 0:40:24.839
<v Speaker 3>how it's gonna do it. Like for me, so I've

0:40:24.840 --> 0:40:26.719
<v Speaker 3>already you know, the market has judged me, and it's

0:40:26.800 --> 0:40:27.560
<v Speaker 3>judged me harshly.

0:40:28.040 --> 0:40:31.160
<v Speaker 1>Maybe she'll teach you. You know, I think you could

0:40:31.160 --> 0:40:46.840
<v Speaker 1>do it. I know that you're a passionate runner. Yeah,

0:40:46.880 --> 0:40:49.560
<v Speaker 1>And I believe that in order for someone to be

0:40:49.640 --> 0:40:54.400
<v Speaker 1>creatively successful, there has to be an element of breathing

0:40:55.120 --> 0:40:58.759
<v Speaker 1>that sort of releases the endorphins or whatever it is

0:40:58.800 --> 0:41:02.799
<v Speaker 1>that our brain gives us. And at first I thought

0:41:03.160 --> 0:41:09.160
<v Speaker 1>people who were obsessive joggers did this just for you know,

0:41:09.440 --> 0:41:12.640
<v Speaker 1>health's sake. But I didn't realize that, Oh, at the

0:41:12.719 --> 0:41:17.520
<v Speaker 1>end of jogging, you're doing a lot of breathing, which

0:41:17.840 --> 0:41:23.279
<v Speaker 1>for me meditative breathing or DMT breathwork or advanced level

0:41:23.280 --> 0:41:25.799
<v Speaker 1>of breath work. It's kind of how I do it.

0:41:25.840 --> 0:41:28.799
<v Speaker 1>But what was it about running? Like, did you at

0:41:28.800 --> 0:41:32.640
<v Speaker 1>any point in life dream of professionally running?

0:41:32.760 --> 0:41:32.880
<v Speaker 4>Like?

0:41:33.320 --> 0:41:36.600
<v Speaker 3>I was quite a good high school runner, but very

0:41:36.680 --> 0:41:39.920
<v Speaker 3>very early on I realized that I was, you know,

0:41:40.080 --> 0:41:44.480
<v Speaker 3>one massive tier below the great You know, even at

0:41:44.600 --> 0:41:48.360
<v Speaker 3>thirteen and fourteen, you recognize the kids you're running with

0:41:48.400 --> 0:41:50.680
<v Speaker 3>who are going to the Olympics. You just I mean

0:41:50.719 --> 0:41:53.239
<v Speaker 3>they're just on a different level, right, So I never

0:41:53.400 --> 0:41:58.280
<v Speaker 3>had that. That fantasy lasted a very very very short time,

0:41:58.400 --> 0:42:00.239
<v Speaker 3>but I found it.

0:42:00.239 --> 0:42:00.760
<v Speaker 4>It's funny.

0:42:00.800 --> 0:42:03.040
<v Speaker 3>It is valuable to me as an adult in a

0:42:03.080 --> 0:42:05.560
<v Speaker 3>way that it wasn't as a kid, for that exact

0:42:05.640 --> 0:42:10.759
<v Speaker 3>reason that I don't have any other escapes, right, I mean,

0:42:10.800 --> 0:42:13.080
<v Speaker 3>every other aspect of my life is and I have

0:42:13.160 --> 0:42:16.720
<v Speaker 3>no the kind of opportunities just to let your mind

0:42:17.000 --> 0:42:23.160
<v Speaker 3>wander are so limited, and I think creativity begins in

0:42:23.160 --> 0:42:25.440
<v Speaker 3>that kind of free association.

0:42:25.960 --> 0:42:28.360
<v Speaker 1>So what is it creative process with the tipping point

0:42:28.920 --> 0:42:33.120
<v Speaker 1>versus your creative process for revenge at the tipping point?

0:42:33.960 --> 0:42:38.120
<v Speaker 1>And that twenty five year gap, like what walked me through?

0:42:38.160 --> 0:42:41.920
<v Speaker 1>Like do you use music? Do you like?

0:42:42.960 --> 0:42:45.200
<v Speaker 3>There's usually a story that I want to tell. That's

0:42:45.239 --> 0:42:47.399
<v Speaker 3>the It's not the beginning of the book, but it's

0:42:47.400 --> 0:42:50.680
<v Speaker 3>the heart of the book. And the first tipping point

0:42:50.680 --> 0:42:52.360
<v Speaker 3>it was just I was living in New York and

0:42:52.360 --> 0:42:54.959
<v Speaker 3>New York suddenly got safe and I didn't understand why

0:42:55.840 --> 0:42:57.839
<v Speaker 3>that was as simple. I just wanted to explain that

0:42:58.280 --> 0:43:02.200
<v Speaker 3>how that could happen? This one I was thinking a

0:43:02.200 --> 0:43:07.920
<v Speaker 3>lot and writing about COVID and this idea which people

0:43:07.920 --> 0:43:12.399
<v Speaker 3>couldn't understand in COVID, which was COVID was spread by

0:43:12.920 --> 0:43:15.880
<v Speaker 3>one person in a hundred. In other words, if everyone

0:43:15.880 --> 0:43:18.719
<v Speaker 3>in this room had COVID right now, only one of

0:43:18.719 --> 0:43:23.160
<v Speaker 3>you would pose any substantial risk of transmitting your virus

0:43:23.160 --> 0:43:26.399
<v Speaker 3>to anyone else. And that's because, for reasons we don't

0:43:26.480 --> 0:43:31.240
<v Speaker 3>understand a tiny fraction of human beings, you spread COVID

0:43:31.280 --> 0:43:34.920
<v Speaker 3>with what are called aerosols. In this room, there is

0:43:34.960 --> 0:43:37.279
<v Speaker 3>someone who produces one hundred or a thousand x more

0:43:37.560 --> 0:43:40.319
<v Speaker 3>aerosols than the rest of us. Again, we don't know why.

0:43:40.480 --> 0:43:44.399
<v Speaker 3>It's just a random genetic thing. That person gets everybody sick.

0:43:44.719 --> 0:43:49.120
<v Speaker 3>The rest of us do not. And nobody during COVID

0:43:49.840 --> 0:43:53.160
<v Speaker 3>would appreciate this fact, like we're scientists saying it's not

0:43:53.400 --> 0:43:56.080
<v Speaker 3>every one of us, it's one in one hundred. If

0:43:56.120 --> 0:43:58.480
<v Speaker 3>you understand who they are, you could stop this thing cold.

0:43:58.680 --> 0:44:01.560
<v Speaker 3>No one was interested in that message, and I was

0:44:01.600 --> 0:44:04.000
<v Speaker 3>fascinated by that, and to me, it was this beautiful

0:44:04.800 --> 0:44:07.680
<v Speaker 3>illustration of one of the fundamental principles of epidemics, which

0:44:07.719 --> 0:44:09.160
<v Speaker 3>is they are profoundly asymmetrical.

0:44:09.239 --> 0:44:11.080
<v Speaker 4>Right, small number of people.

0:44:10.840 --> 0:44:13.799
<v Speaker 3>Do all the work, So that kind of rekindled my

0:44:13.840 --> 0:44:15.720
<v Speaker 3>interest in the idea, and I just then I started

0:44:15.719 --> 0:44:18.440
<v Speaker 3>to build on that. Why do we have trouble with that?

0:44:20.360 --> 0:44:22.480
<v Speaker 3>What would the implications of the fact we overlooked it?

0:44:22.600 --> 0:44:23.759
<v Speaker 3>What are other examples of this?

0:44:24.160 --> 0:44:24.560
<v Speaker 1>You know? On it?

0:44:24.640 --> 0:44:27.920
<v Speaker 3>You just kind of like build out from a lot

0:44:27.920 --> 0:44:32.279
<v Speaker 3>of that's just kind of very random musing about what

0:44:32.360 --> 0:44:35.600
<v Speaker 3>you're learning as you as you write about that phenomenon.

0:44:36.000 --> 0:44:40.240
<v Speaker 1>So, in the pandemic, in which I always say seventy

0:44:40.239 --> 0:44:43.400
<v Speaker 1>five percent, other people were faced with a challenge of

0:44:44.320 --> 0:44:49.319
<v Speaker 1>a pivot or a tipping point or a change in

0:44:49.360 --> 0:44:53.120
<v Speaker 1>their life, which basically, I mean, unless you're under a rock,

0:44:53.960 --> 0:44:57.240
<v Speaker 1>your life, whatever your life was before March of twenty twenty,

0:44:57.440 --> 0:45:01.320
<v Speaker 1>was not the same after twenty twenty, whether you regressed

0:45:01.320 --> 0:45:04.680
<v Speaker 1>even further for the worst or thrived in a whole

0:45:04.760 --> 0:45:09.400
<v Speaker 1>nother area. Was that true for you, Like, how was

0:45:09.480 --> 0:45:14.160
<v Speaker 1>twenty twenty or twenty twenty one different from you as

0:45:14.160 --> 0:45:16.880
<v Speaker 1>opposed to what was now in your rear view mirror.

0:45:17.440 --> 0:45:20.239
<v Speaker 3>It's a really interesting question, and I'm going to cop

0:45:20.280 --> 0:45:23.120
<v Speaker 3>out in a sense that that's the kind of question

0:45:23.160 --> 0:45:24.200
<v Speaker 3>that I don't think I have.

0:45:24.600 --> 0:45:27.000
<v Speaker 4>I totally agree with you, Okay, but I.

0:45:26.880 --> 0:45:29.640
<v Speaker 3>Also think that I don't think I will really know

0:45:29.680 --> 0:45:32.000
<v Speaker 3>the answer to that question for a long time. I

0:45:32.040 --> 0:45:36.080
<v Speaker 3>think we forget how recent all this was. And not

0:45:36.120 --> 0:45:38.680
<v Speaker 3>only is it recent, but also we did a spectacular

0:45:38.760 --> 0:45:42.480
<v Speaker 3>job of burying this phenomenon. So it's this weird combination

0:45:42.600 --> 0:45:48.120
<v Speaker 3>of something catastrophic happened, which we then very successfully swept

0:45:48.239 --> 0:45:52.360
<v Speaker 3>under a rug like a million American deciderer close to

0:45:52.360 --> 0:45:54.880
<v Speaker 3>a million American size, the hell of a lot of people,

0:45:55.239 --> 0:45:58.279
<v Speaker 3>like an insane amount of people. Yeah, and then around

0:45:58.320 --> 0:46:02.520
<v Speaker 3>the world. You know, we just kind of like decided

0:46:02.560 --> 0:46:04.319
<v Speaker 3>we weren't going to talk about it anymore, and we

0:46:04.320 --> 0:46:08.359
<v Speaker 3>weren't going to So it's like, under those circumstances, how

0:46:08.400 --> 0:46:10.960
<v Speaker 3>do I know what the impact? Well, how do I

0:46:11.000 --> 0:46:14.040
<v Speaker 3>know now what the impact was? It's just give me

0:46:14.080 --> 0:46:15.759
<v Speaker 3>another five years.

0:46:16.080 --> 0:46:20.480
<v Speaker 1>Well, since you live in the present, and I consider

0:46:20.560 --> 0:46:23.080
<v Speaker 1>you a historian, like, how does that work?

0:46:23.360 --> 0:46:25.200
<v Speaker 3>Well, I live in the present with respect to myself,

0:46:25.200 --> 0:46:27.680
<v Speaker 3>which is why I'm struggling with this question, right because I.

0:46:27.680 --> 0:46:29.319
<v Speaker 4>Don't like to think about I'm one of those people

0:46:29.320 --> 0:46:30.000
<v Speaker 4>who buried it.

0:46:30.000 --> 0:46:35.799
<v Speaker 1>Right, Okay, Well, for you, then, is your infamous ten

0:46:35.840 --> 0:46:41.960
<v Speaker 1>thousand hour equals perfection theory still relevant in twenty twenty five,

0:46:42.320 --> 0:46:44.600
<v Speaker 1>or are we playing with a new set of.

0:46:44.640 --> 0:46:48.960
<v Speaker 3>Rules with my version or the version that people mistakenly

0:46:49.080 --> 0:46:49.560
<v Speaker 3>took when.

0:46:49.480 --> 0:46:52.120
<v Speaker 1>They Okay, so what's I was going to ask you,

0:46:52.160 --> 0:46:54.600
<v Speaker 1>what's the one fact about you that people get wrong

0:46:54.719 --> 0:46:57.840
<v Speaker 1>all the time? And well, are you tired of the

0:46:57.880 --> 0:46:59.200
<v Speaker 1>ten thousand hour theory? No?

0:46:59.360 --> 0:47:02.959
<v Speaker 4>I mean it's like whatever, but it's you know, let.

0:47:02.840 --> 0:47:07.680
<v Speaker 1>Me make clear, ten thousand hours of practice equals genius.

0:47:08.280 --> 0:47:09.720
<v Speaker 4>That's that's not the theory.

0:47:09.840 --> 0:47:12.760
<v Speaker 1>Okay, Wait, so is that Am I doing a Mandela

0:47:13.120 --> 0:47:13.920
<v Speaker 1>effect right now?

0:47:14.040 --> 0:47:14.120
<v Speaker 3>Like?

0:47:14.320 --> 0:47:14.640
<v Speaker 4>No, no, No.

0:47:15.040 --> 0:47:18.040
<v Speaker 3>The idea was ten thousand It takes a long time,

0:47:18.239 --> 0:47:21.520
<v Speaker 3>I e. Something like ten thousand hours for talent to

0:47:21.600 --> 0:47:24.960
<v Speaker 3>be manifested. I could spend ten thousand hours on a

0:47:24.960 --> 0:47:28.320
<v Speaker 3>golf course and I'm not turning into Scotti Scheffler.

0:47:28.760 --> 0:47:29.600
<v Speaker 1>Okay, right.

0:47:30.440 --> 0:47:32.000
<v Speaker 4>But the idea was that.

0:47:32.440 --> 0:47:36.440
<v Speaker 3>It's about the insufficiency of talent and it's about the

0:47:36.560 --> 0:47:42.240
<v Speaker 3>duration of practice. It's those two ideas in combination. And

0:47:42.280 --> 0:47:46.280
<v Speaker 3>what people wanted to the way that idea was misunderstood

0:47:46.360 --> 0:47:49.960
<v Speaker 3>was that people thought I was saying that with practice,

0:47:50.040 --> 0:47:54.680
<v Speaker 3>any kind of excellence is accessible. And no, that's nonsense.

0:47:54.680 --> 0:47:57.160
<v Speaker 3>Who would think that? That's like nuts? Do you think

0:47:57.160 --> 0:48:00.239
<v Speaker 3>if could I turn myself into you? Tend to know

0:48:01.320 --> 0:48:04.040
<v Speaker 3>you have some god given thing which you have carefully

0:48:04.040 --> 0:48:08.239
<v Speaker 3>cultivated over time, But it begins with you having some

0:48:09.360 --> 0:48:12.040
<v Speaker 3>God given thing. I could have if we had a

0:48:12.040 --> 0:48:15.760
<v Speaker 3>conversation as five year olds, I would have said, there's.

0:48:15.520 --> 0:48:16.360
<v Speaker 4>Something going on with you.

0:48:16.440 --> 0:48:19.680
<v Speaker 3>That's really I mean, if I was a sophisticated five

0:48:19.760 --> 0:48:24.839
<v Speaker 3>year olds, I would have said, and you've had this.

0:48:25.160 --> 0:48:27.400
<v Speaker 3>Now that I'm in the world of kids, it's always

0:48:27.400 --> 0:48:31.640
<v Speaker 3>astonishing to me. Like you meet kids and you and

0:48:31.680 --> 0:48:35.080
<v Speaker 3>one in a hundred you realize, oh, they've got that thing.

0:48:35.440 --> 0:48:38.120
<v Speaker 3>I don't know what it is yet, but oh, this kid,

0:48:38.440 --> 0:48:41.040
<v Speaker 3>you can see it right, like something's going on there.

0:48:41.160 --> 0:48:43.560
<v Speaker 3>And then you pray that they're going to be able

0:48:43.560 --> 0:48:47.840
<v Speaker 3>to nourish it and access it and get support for it.

0:48:47.880 --> 0:48:52.799
<v Speaker 3>But it's clearly there, right, it's some I was at

0:48:52.840 --> 0:48:56.560
<v Speaker 3>the my daughter's pre K graduation. The idea this is

0:48:56.560 --> 0:49:00.040
<v Speaker 3>a pre K graduation, by the way, it's like that

0:49:00.200 --> 0:49:03.000
<v Speaker 3>is like how preposterous our society has become. It's pre

0:49:03.200 --> 0:49:05.560
<v Speaker 3>They they barely know they're at PreK. How do they

0:49:05.560 --> 0:49:09.239
<v Speaker 3>know they're graduating. Nonetheless, this is an opportunity to shake

0:49:09.280 --> 0:49:13.360
<v Speaker 3>down the parents. But there's this kid my daughter's playing.

0:49:14.239 --> 0:49:16.960
<v Speaker 3>My daughter is like clearly has a crush on this

0:49:17.040 --> 0:49:19.480
<v Speaker 3>kid called THEO. We've been hearing about THEO for months,

0:49:20.080 --> 0:49:24.320
<v Speaker 3>and THEO like pushes her over and she's constantly reporting

0:49:24.320 --> 0:49:25.720
<v Speaker 3>on some new indignity that's.

0:49:25.600 --> 0:49:26.840
<v Speaker 4>Been visited on her by THEO.

0:49:27.440 --> 0:49:29.279
<v Speaker 3>We're like, well, why are you hanging? She goes and

0:49:29.320 --> 0:49:32.040
<v Speaker 3>THEO should come over for a play date. Well, THEO

0:49:32.160 --> 0:49:35.640
<v Speaker 3>is white. So finally I meet THEO with the play date.

0:49:35.719 --> 0:49:41.280
<v Speaker 3>I'm like, oh, Theo's just God charisma, Like he's three,

0:49:41.480 --> 0:49:44.440
<v Speaker 3>and it's like, I get it. If I was you,

0:49:44.560 --> 0:49:47.600
<v Speaker 3>I would be hanging out with THEO like he's in

0:49:47.640 --> 0:49:48.759
<v Speaker 3>a world by himself.

0:49:48.800 --> 0:49:51.800
<v Speaker 4>It's magical. But can I make another comment?

0:49:51.880 --> 0:49:54.960
<v Speaker 3>I'm just can I do this incredibly tiresome thing that

0:49:55.120 --> 0:50:01.040
<v Speaker 3>parents do? This is the beginning of cultural I'd never

0:50:01.800 --> 0:50:05.680
<v Speaker 3>I never figured out where cultural discernment comes from. How

0:50:05.719 --> 0:50:09.040
<v Speaker 3>do you learn to decide what you like and what

0:50:09.080 --> 0:50:09.680
<v Speaker 3>you don't like?

0:50:10.160 --> 0:50:12.279
<v Speaker 4>Write? It's a mystery to me.

0:50:13.120 --> 0:50:17.080
<v Speaker 3>So I drove my daughter to preschool every morning and

0:50:17.120 --> 0:50:23.279
<v Speaker 3>we listen to some kids music collection on Spotify, and

0:50:24.560 --> 0:50:29.000
<v Speaker 3>in the beginning, it's all the same forty songs on rotation.

0:50:29.239 --> 0:50:32.360
<v Speaker 3>By the way, Spotify, surely there are more than forty

0:50:32.840 --> 0:50:35.320
<v Speaker 3>children's songs like let's get our act together, right, right,

0:50:36.040 --> 0:50:39.359
<v Speaker 3>But the first time round she listens to them all,

0:50:39.640 --> 0:50:43.000
<v Speaker 3>and the second time round she says, oh, no, no,

0:50:43.520 --> 0:50:45.600
<v Speaker 3>like for like two of them, don't play that one.

0:50:45.760 --> 0:50:49.480
<v Speaker 3>The third time round she's rejecting six of them. And

0:50:49.520 --> 0:50:54.160
<v Speaker 3>now she's basically rejecting two thirds of them. And I'm

0:50:54.160 --> 0:50:58.879
<v Speaker 3>realizing that what I'm witnessing is the rise of discernment, right,

0:50:59.280 --> 0:51:04.120
<v Speaker 3>Like she's figured out that it's okay to have a

0:51:04.160 --> 0:51:08.760
<v Speaker 3>position on a work of art, right, and that her position.

0:51:09.040 --> 0:51:11.279
<v Speaker 3>She's not asking me, daddy, do you like it? She's

0:51:11.320 --> 0:51:16.000
<v Speaker 3>not deferring. She's affirmatively saying, like she has turned on Raffi.

0:51:16.480 --> 0:51:17.200
<v Speaker 4>No more Raffi.

0:51:17.560 --> 0:51:18.719
<v Speaker 1>Wait, Raffi is still a thing?

0:51:19.680 --> 0:51:20.920
<v Speaker 4>They play them on Spotify.

0:51:21.600 --> 0:51:24.359
<v Speaker 1>Oh, there is way more kids, There.

0:51:24.280 --> 0:51:25.239
<v Speaker 4>Is way more way.

0:51:25.239 --> 0:51:31.040
<v Speaker 3>There's a genius guy called uh a Randy Kaplan. Randy

0:51:31.080 --> 0:51:33.360
<v Speaker 3>Kaplan gets two thumbs up every one of his songs.

0:51:34.400 --> 0:51:35.480
<v Speaker 3>Don't fill up on chips.

0:51:35.520 --> 0:51:39.320
<v Speaker 1>This is a masterpiece, masterpiece, don't fill up on chips.

0:51:39.400 --> 0:51:39.600
<v Speaker 4>Yeah.

0:51:39.920 --> 0:51:43.320
<v Speaker 3>Then the chorus is kids going, why Mom, why Mom?

0:51:44.280 --> 0:51:48.480
<v Speaker 4>Salsa, m guacamole, They're just dips. They're just dips. Goes

0:51:48.520 --> 0:51:48.840
<v Speaker 4>on like that.

0:51:49.200 --> 0:51:52.719
<v Speaker 3>But but I'm realizing that, and there's a lot I'm

0:51:52.719 --> 0:51:55.640
<v Speaker 3>also detecting the beginnings of a logic in her choices.

0:51:56.480 --> 0:52:00.759
<v Speaker 3>She's steadily rejecting the ones that don't have extra level

0:52:00.800 --> 0:52:05.279
<v Speaker 3>of cleverness or and it's like fascinating.

0:52:04.719 --> 0:52:07.120
<v Speaker 1>Like is she your case study? Now? Like are you?

0:52:08.040 --> 0:52:08.799
<v Speaker 4>I think you're gonna do.

0:52:08.800 --> 0:52:10.480
<v Speaker 3>The thing that's so tires in, which is people have

0:52:10.520 --> 0:52:11.600
<v Speaker 3>a kid and then they all to do is right

0:52:11.640 --> 0:52:12.200
<v Speaker 3>about their kid.

0:52:12.600 --> 0:52:14.160
<v Speaker 1>But I will bore you, Oh you know you are.

0:52:14.480 --> 0:52:16.920
<v Speaker 3>So I will bore people in a setting what you

0:52:16.960 --> 0:52:19.120
<v Speaker 3>can't leave. I will bore you with stories about my daughter.

0:52:20.960 --> 0:52:24.840
<v Speaker 3>So now that I'm in conversation with you, I'm gonna

0:52:24.840 --> 0:52:29.360
<v Speaker 3>guess that at three and four you were doing that

0:52:30.040 --> 0:52:32.640
<v Speaker 3>exact same thing with even more sophistication.

0:52:33.600 --> 0:52:34.799
<v Speaker 4>I didn't convinced of it.

0:52:35.400 --> 0:52:39.560
<v Speaker 1>Oh yeah, So here's the deal. I grew up in

0:52:39.640 --> 0:52:45.600
<v Speaker 1>a three thousand album household. But here's the rule. Yeah,

0:52:46.000 --> 0:52:51.640
<v Speaker 1>don't touch my stereo or else. And you gotta put

0:52:51.680 --> 0:52:55.080
<v Speaker 1>a lot of emphasis on those last two words. Yeah,

0:52:55.120 --> 0:52:57.799
<v Speaker 1>and if you see what my dad looks like, you

0:52:57.840 --> 0:53:00.720
<v Speaker 1>know that or else it comes with a heavy price

0:53:00.760 --> 0:53:05.560
<v Speaker 1>to pay. So as a result, I think between the

0:53:05.600 --> 0:53:09.919
<v Speaker 1>ages of two maybe fourteen, like I did not have

0:53:10.120 --> 0:53:14.920
<v Speaker 1>a cynical bone in my body, and to grow up

0:53:14.960 --> 0:53:20.040
<v Speaker 1>in a household where Glenn Campbell's ron Stone Cowboy and

0:53:20.120 --> 0:53:23.880
<v Speaker 1>the Jackson five Dancing Machine are getting equal time. You know,

0:53:24.400 --> 0:53:29.200
<v Speaker 1>Rita Coolidge and Natalie Cole are getting equal time, the

0:53:29.280 --> 0:53:35.160
<v Speaker 1>Hudson Brothers and Tavars are getting equal time. I didn't

0:53:35.160 --> 0:53:37.520
<v Speaker 1>know what discernment me I didn't have. The first time

0:53:37.560 --> 0:53:42.200
<v Speaker 1>I heard my dad panned something, he left music altogether.

0:53:42.400 --> 0:53:45.960
<v Speaker 1>So we were waiting for Stevie Wonder to release his

0:53:46.000 --> 0:53:48.960
<v Speaker 1>follow up to Songs in the Key of Life Now

0:53:49.080 --> 0:53:55.360
<v Speaker 1>my household. Stevie Wonder records were like events, like to

0:53:55.480 --> 0:53:59.280
<v Speaker 1>think of War of the worlds Orson Wells nineteen thirty

0:53:59.640 --> 0:54:03.960
<v Speaker 1>where we're sitting as a family, staring at the turntable

0:54:04.560 --> 0:54:06.160
<v Speaker 1>and putting on side one of the songs in the

0:54:06.239 --> 0:54:08.520
<v Speaker 1>Cave of Life and listening into all six sides of

0:54:08.520 --> 0:54:11.480
<v Speaker 1>that record, going through the liner notes and I'm five,

0:54:11.800 --> 0:54:15.320
<v Speaker 1>and like, I've completely had an adults understanding of music.

0:54:16.200 --> 0:54:18.720
<v Speaker 1>And he takes three years to do his follow up record,

0:54:18.840 --> 0:54:23.239
<v Speaker 1>and of course he does the departure album, which, for

0:54:23.280 --> 0:54:27.040
<v Speaker 1>those of you don't know, if you release an established classic,

0:54:27.960 --> 0:54:32.200
<v Speaker 1>oftentimes when you have fear of follow up, and Stevie

0:54:32.239 --> 0:54:35.839
<v Speaker 1>will deny that Still Cows Come Home, you do an

0:54:35.920 --> 0:54:39.160
<v Speaker 1>album that's the complete opposite of what you were known for.

0:54:39.239 --> 0:54:44.600
<v Speaker 1>And some say it's a psychological exercise of not wanting

0:54:44.640 --> 0:54:46.640
<v Speaker 1>to face a fear. So don't make an album that's

0:54:46.640 --> 0:54:49.960
<v Speaker 1>even remotely close to songs than Cave Life. Do a

0:54:50.000 --> 0:54:52.799
<v Speaker 1>classical album, which is what he did without warning. So

0:54:53.680 --> 0:54:57.600
<v Speaker 1>my dad was, I mean, he was so heartbroken over

0:54:57.640 --> 0:55:01.520
<v Speaker 1>that record where and defeated. Then I could touch the

0:55:01.560 --> 0:55:03.760
<v Speaker 1>stereo like he just stopped listening to music.

0:55:04.520 --> 0:55:07.160
<v Speaker 4>A broke you wonder broke your dad.

0:55:07.239 --> 0:55:09.840
<v Speaker 1>It totally broke. But I mean he was also forty

0:55:09.880 --> 0:55:12.880
<v Speaker 1>at the time, which I think in the eighties forty

0:55:13.040 --> 0:55:16.320
<v Speaker 1>might as well have been sixty. So the whole point

0:55:16.400 --> 0:55:20.440
<v Speaker 1>was that I never knew what I didn't know what

0:55:20.480 --> 0:55:22.359
<v Speaker 1>cynicism was until.

0:55:23.320 --> 0:55:25.000
<v Speaker 3>So you didn't have the ability to do what my

0:55:25.080 --> 0:55:27.640
<v Speaker 3>daughter does, which is skip that song.

0:55:28.000 --> 0:55:30.120
<v Speaker 4>But yeah, but you're.

0:55:29.960 --> 0:55:33.680
<v Speaker 3>Getting actually an even better at education, which is he

0:55:33.840 --> 0:55:36.799
<v Speaker 3>your father is implicitly forcing you to find what is

0:55:36.840 --> 0:55:40.680
<v Speaker 3>beautiful in an incredibly wide variety of music, which is

0:55:41.280 --> 0:55:43.239
<v Speaker 3>that is the education that allowed you to be you?

0:55:43.800 --> 0:55:47.280
<v Speaker 1>Right it is. But I do wonder if there's an

0:55:47.320 --> 0:55:51.359
<v Speaker 1>alternate Earth version of me that listens to all these

0:55:51.400 --> 0:55:56.560
<v Speaker 1>albums completely without skipping, without the fear of I will

0:55:56.560 --> 0:55:58.600
<v Speaker 1>get hit if I do this to go to the

0:55:58.600 --> 0:56:00.880
<v Speaker 1>next gong or skip to the next By.

0:56:00.719 --> 0:56:04.200
<v Speaker 3>The way, you mentioned Stevie and Glen Campbell, I trust

0:56:04.280 --> 0:56:07.920
<v Speaker 3>I watched this maybe a thousand times, the YouTube of

0:56:08.400 --> 0:56:11.000
<v Speaker 3>the two of them singing the Blown in the Wind,

0:56:11.600 --> 0:56:16.880
<v Speaker 3>which is like so un believable, and it it's for

0:56:17.000 --> 0:56:20.640
<v Speaker 3>so many reasons, but like the sheer delight. Glen Campbell,

0:56:20.640 --> 0:56:22.680
<v Speaker 3>by the way, because you know, is a legend in

0:56:22.680 --> 0:56:24.759
<v Speaker 3>his own right, like a brilliant guitar player, like an

0:56:24.920 --> 0:56:29.440
<v Speaker 3>incredible voice. Is the absolute The look on his face,

0:56:30.160 --> 0:56:32.799
<v Speaker 3>it's like he's saying, this is I am sitting on

0:56:32.840 --> 0:56:36.600
<v Speaker 3>a piano bench next to Stevie. Wonder it's never going

0:56:36.640 --> 0:56:39.640
<v Speaker 3>to get better than this. It's like it's just it's

0:56:39.760 --> 0:56:41.879
<v Speaker 3>and Jack Ben Campbell is like a Church of Christ

0:56:41.960 --> 0:56:46.040
<v Speaker 3>guy from Alabama wherever he's from. It's like he could

0:56:46.160 --> 0:56:49.399
<v Speaker 3>culturally that this has been him and Stevie is It's

0:56:49.440 --> 0:56:53.120
<v Speaker 3>thousands of miles of cultural difference, and he to see

0:56:54.239 --> 0:56:56.800
<v Speaker 3>the look in his eyes when like, none of that matters.

0:56:57.400 --> 0:57:00.640
<v Speaker 4>I'm sitting next to Stevie, I see it like and

0:57:00.640 --> 0:57:01.839
<v Speaker 4>egging them on, Like.

0:57:03.280 --> 0:57:05.560
<v Speaker 3>I mean, if you've never watched this on YouTube, it's like,

0:57:05.640 --> 0:57:07.120
<v Speaker 3>this is what you should watch when you go home.

0:57:07.160 --> 0:57:08.000
<v Speaker 4>It's so magical.

0:57:20.440 --> 0:57:23.280
<v Speaker 1>So wait, because you told me that my theory was wrong,

0:57:23.320 --> 0:57:27.720
<v Speaker 1>which was ten thousand hours equal genius. So the thing is,

0:57:28.400 --> 0:57:31.160
<v Speaker 1>until this moment, I will accept that that's not what

0:57:31.200 --> 0:57:33.360
<v Speaker 1>you meant, but in my mind, that's what you meant.

0:57:33.960 --> 0:57:41.120
<v Speaker 1>So that said, I've made a decision. Maybe seven months ago,

0:57:41.320 --> 0:57:46.640
<v Speaker 1>I had a life redo and I decided that I'm

0:57:46.680 --> 0:57:50.960
<v Speaker 1>going to be an amateur and with a child's mind

0:57:51.080 --> 0:57:53.400
<v Speaker 1>of everything I do creatively. Now this is coming from

0:57:53.480 --> 0:57:59.240
<v Speaker 1>someone that's a studied obsessive. I gotta figure out like

0:58:00.000 --> 0:58:03.000
<v Speaker 1>everything about the thing that I'm interested in and do

0:58:03.320 --> 0:58:07.920
<v Speaker 1>all this thorough research to it. And now I believe

0:58:08.800 --> 0:58:10.919
<v Speaker 1>do you believe that the opposite can be true. Now,

0:58:11.000 --> 0:58:13.480
<v Speaker 1>like someone that doesn't put in ten thousand hours, someone

0:58:13.520 --> 0:58:18.160
<v Speaker 1>that just walks into a type rope situation and successfully

0:58:19.080 --> 0:58:21.280
<v Speaker 1>gets to it. Do you think that it' seemed impossible

0:58:21.360 --> 0:58:24.400
<v Speaker 1>to sort of wild the same results of.

0:58:24.720 --> 0:58:28.960
<v Speaker 3>Well, what you can get is a different, but in

0:58:29.040 --> 0:58:34.280
<v Speaker 3>many ways just as beautiful experience. So this is something

0:58:34.280 --> 0:58:36.520
<v Speaker 3>that I thought about when I was running as a kid,

0:58:37.120 --> 0:58:40.400
<v Speaker 3>and I was a very competitive runner. I liked running

0:58:40.400 --> 0:58:42.880
<v Speaker 3>and I enjoyed it, but I was also aware of

0:58:42.880 --> 0:58:45.760
<v Speaker 3>how stressful and difficult it was. And then I came

0:58:45.800 --> 0:58:50.680
<v Speaker 3>back to running as a much older person and was

0:58:50.760 --> 0:58:54.600
<v Speaker 3>no longer an elite runner. I was now a good

0:58:54.680 --> 0:58:58.720
<v Speaker 3>runner all right, and I found running as a good

0:58:58.800 --> 0:59:02.080
<v Speaker 3>runner to be in every way superior to running when

0:59:02.120 --> 0:59:05.200
<v Speaker 3>I was an elite runner. And I realized that there

0:59:05.240 --> 0:59:09.720
<v Speaker 3>was a there's a category of enjoyment that is only

0:59:09.760 --> 0:59:12.800
<v Speaker 3>open to you if you're not an expert. If you're

0:59:13.160 --> 0:59:17.920
<v Speaker 3>encountering things. It comes back to the my to my

0:59:18.120 --> 0:59:21.360
<v Speaker 3>mom and working girl. Seeing things with fresh eyes and

0:59:21.360 --> 0:59:24.840
<v Speaker 3>being unencumbered by all of the kind of contexts that

0:59:25.560 --> 0:59:30.000
<v Speaker 3>comes with the steady acquisition of expertise allows you to

0:59:30.240 --> 0:59:33.439
<v Speaker 3>enjoy things in a really kind of simple and pure

0:59:33.480 --> 0:59:36.960
<v Speaker 3>way that maybe would be impossible if you were immersed

0:59:36.960 --> 0:59:40.520
<v Speaker 3>in something like my friend Charles is a screenwriter.

0:59:40.960 --> 0:59:41.280
<v Speaker 1>All right.

0:59:41.320 --> 0:59:43.080
<v Speaker 4>You have a number of screenwriter friends of mine.

0:59:43.400 --> 0:59:45.520
<v Speaker 3>If you go with them to the movies and you say,

0:59:45.560 --> 0:59:48.160
<v Speaker 3>and I'll say that's a great movie, they'll say, actually, no, no,

0:59:48.560 --> 0:59:51.280
<v Speaker 3>you don't understand. Act one was all wrong for the

0:59:51.280 --> 0:59:55.960
<v Speaker 3>following reasons. If I was doing it, I'm like, they

0:59:55.960 --> 0:59:58.919
<v Speaker 3>didn't enjoy the movie. They knew too much. I just thought,

0:59:59.400 --> 1:00:02.600
<v Speaker 3>I don't know, I thought it was great. I'm done right.

1:00:02.920 --> 1:00:06.920
<v Speaker 3>And so I think that we underestimate those the kind

1:00:06.920 --> 1:00:11.600
<v Speaker 3>of simple joy that comes from an amateur's perspective, and

1:00:11.640 --> 1:00:16.360
<v Speaker 3>we overstate I think, the pleasure, not the value, but

1:00:16.400 --> 1:00:19.160
<v Speaker 3>the pleasure that comes from being an expert.

1:00:20.120 --> 1:00:22.680
<v Speaker 1>All right, So I have a last question. I'm gonna

1:00:22.720 --> 1:00:27.640
<v Speaker 1>do quick lightning around with you. So my final question is,

1:00:28.600 --> 1:00:35.480
<v Speaker 1>because twenty twenty five is defined by I guess what

1:00:35.520 --> 1:00:41.520
<v Speaker 1>I dub research versus research? Is it frustrating to you

1:00:41.720 --> 1:00:45.680
<v Speaker 1>to live in a time in which having an amplified

1:00:45.760 --> 1:00:53.600
<v Speaker 1>microphone doesn't necessarily mean that you're saying anything factual at all? Like,

1:00:53.800 --> 1:00:59.080
<v Speaker 1>as a person who's like creative existence is doing research

1:00:59.160 --> 1:01:05.080
<v Speaker 1>and gathering. Do you trust the next generation of writers

1:01:05.120 --> 1:01:09.280
<v Speaker 1>to continue what you started twenty five years ago?

1:01:10.040 --> 1:01:13.160
<v Speaker 4>I mean, yes, I do find it frustrating.

1:01:13.640 --> 1:01:17.200
<v Speaker 3>I did a podcast episode of Revision's history basically going

1:01:17.240 --> 1:01:23.160
<v Speaker 3>after Joe Rogan for being a terrible interviewer and letting like, yeah,

1:01:23.200 --> 1:01:25.960
<v Speaker 3>who's on his show and like never calling them on anything. Right,

1:01:26.360 --> 1:01:29.280
<v Speaker 3>that's frustrating because he's someone with a lot of cultural authority.

1:01:29.560 --> 1:01:32.560
<v Speaker 3>On the other hand, like we're always going to have

1:01:32.600 --> 1:01:36.560
<v Speaker 3>that there was an equivalent to him in some other

1:01:36.640 --> 1:01:38.760
<v Speaker 3>form twenty five and thirty and fifty years ago. So,

1:01:39.640 --> 1:01:42.439
<v Speaker 3>and I think these things are self correcting. You can't

1:01:42.480 --> 1:01:47.320
<v Speaker 3>persist indefinitely with that level of intellectual laziness and still

1:01:47.320 --> 1:01:51.320
<v Speaker 3>be a part of the conversation. So there's so I

1:01:51.360 --> 1:01:54.240
<v Speaker 3>have some I don't. I'm not a gloom and duomer

1:01:54.320 --> 1:01:55.600
<v Speaker 3>about that question.

1:01:56.200 --> 1:02:00.920
<v Speaker 1>Okay, However, I mean, as far as the future of

1:02:01.880 --> 1:02:06.600
<v Speaker 1>storytelling and research, especially with not the obsession the discussion

1:02:06.680 --> 1:02:12.600
<v Speaker 1>of AI technology and whatnot, do you have any concerns

1:02:13.240 --> 1:02:16.880
<v Speaker 1>as far as the value of what we used to

1:02:16.960 --> 1:02:18.400
<v Speaker 1>know as facts.

1:02:18.640 --> 1:02:23.280
<v Speaker 3>Yeah, well, AI is actually a pretty useful corrective to

1:02:23.360 --> 1:02:28.160
<v Speaker 3>a lot of nonsense. So if you type do vaccines

1:02:28.200 --> 1:02:31.120
<v Speaker 3>cause autism into chat GPT, chat GPT will tell you

1:02:31.160 --> 1:02:35.080
<v Speaker 3>that they don't, because chat GPT surveys the whole literature

1:02:35.960 --> 1:02:38.720
<v Speaker 3>and doesn't take something out of If you ask RFK

1:02:38.880 --> 1:02:42.200
<v Speaker 3>Jr that you'll get a different answer. So do I

1:02:42.320 --> 1:02:44.920
<v Speaker 3>in a world without chat GPT and only RFK Junior.

1:02:45.520 --> 1:02:46.240
<v Speaker 4>We're in trouble.

1:02:46.760 --> 1:02:50.600
<v Speaker 3>But at least now there's a corrective to the nonsense

1:02:50.680 --> 1:02:55.880
<v Speaker 3>of people like him. So not in that sense, I'm optimistic.

1:02:55.240 --> 1:03:00.000
<v Speaker 1>About Okay, rapid fire time. What was the first job

1:03:00.240 --> 1:03:00.800
<v Speaker 1>you ever had?

1:03:01.840 --> 1:03:05.440
<v Speaker 3>A dishwasher at the Stonecock restaurant in Elmira, Ontario.

1:03:05.840 --> 1:03:07.680
<v Speaker 4>Fifteen years old? Fourteen years old?

1:03:08.600 --> 1:03:09.400
<v Speaker 1>Favorite cereal?

1:03:11.000 --> 1:03:13.000
<v Speaker 4>Don't eat cereal, never.

1:03:12.840 --> 1:03:17.480
<v Speaker 1>Have, never have. You don't know the joys of Captain Crunch.

1:03:19.240 --> 1:03:20.880
<v Speaker 3>I will add to the list of things I did

1:03:20.920 --> 1:03:22.720
<v Speaker 3>not grow up with cereal.

1:03:23.920 --> 1:03:28.680
<v Speaker 1>Really doing to cereal? Okay, by choice or by just

1:03:28.960 --> 1:03:30.920
<v Speaker 1>not happen, it's.

1:03:30.760 --> 1:03:34.280
<v Speaker 3>Not I mean, I can conceive of the utility of

1:03:34.280 --> 1:03:37.120
<v Speaker 3>a bowl of corn flakes, but it's like dessert.

1:03:37.480 --> 1:03:40.560
<v Speaker 4>It's not breakfast food. Right way?

1:03:40.720 --> 1:03:44.760
<v Speaker 3>Did you offer me corn flake crisp after a nice dinner.

1:03:44.760 --> 1:03:47.440
<v Speaker 3>I would say, yeah, that's appropriate, But why would I

1:03:47.440 --> 1:03:48.520
<v Speaker 3>have it at seven in the morning?

1:03:48.680 --> 1:03:49.920
<v Speaker 1>Cereal at nighttime?

1:03:50.080 --> 1:03:52.160
<v Speaker 4>Okay, it's sugar, it's.

1:03:52.040 --> 1:03:57.120
<v Speaker 1>A delivery system for sugar. Okay. For you, what artists

1:03:57.160 --> 1:03:59.200
<v Speaker 1>do you wish that you discovered earlier?

1:04:00.320 --> 1:04:04.000
<v Speaker 3>Oh, that's a really good question. When you say artists,

1:04:04.040 --> 1:04:05.280
<v Speaker 3>you mean very broadly.

1:04:05.960 --> 1:04:10.360
<v Speaker 1>I'man you know, I'm a music platform. But for you,

1:04:11.880 --> 1:04:13.520
<v Speaker 1>acting author.

1:04:14.200 --> 1:04:17.040
<v Speaker 3>I think the greatest nonfiction writer of my generation is

1:04:17.960 --> 1:04:22.560
<v Speaker 3>was she died, Janet Malcolm, And I wish i'd been

1:04:22.560 --> 1:04:26.040
<v Speaker 3>reading Janet Malcolm from the beginning of Janet Malcolm. I

1:04:26.120 --> 1:04:28.960
<v Speaker 3>discovered her in my fifteen years ago. I wish i'd

1:04:28.960 --> 1:04:33.160
<v Speaker 3>discovered her much before then, because she's influenced by writing a.

1:04:33.160 --> 1:04:37.000
<v Speaker 1>Law okay, and what is next for you?

1:04:38.680 --> 1:04:43.200
<v Speaker 3>My big Alabama true crime thing. And then I've been

1:04:43.240 --> 1:04:47.520
<v Speaker 3>working forever on this book about Tom.

1:04:47.240 --> 1:04:51.840
<v Speaker 1>Bradley, mayor Tom Bradley of Los Angeles, and what's your angle?

1:04:52.640 --> 1:04:54.800
<v Speaker 4>I'm really interested in the uses.

1:04:54.480 --> 1:04:56.920
<v Speaker 1>Of anger, the uses of anger.

1:04:57.240 --> 1:04:57.439
<v Speaker 4>Yeah.

1:04:57.480 --> 1:05:03.720
<v Speaker 3>The idea is that people who are disenfranchised are angry inevitably,

1:05:04.120 --> 1:05:05.760
<v Speaker 3>but they have a series of choices about how to

1:05:05.840 --> 1:05:10.560
<v Speaker 3>express that anger. And he was part of a cohort

1:05:10.560 --> 1:05:13.720
<v Speaker 3>of people who grew up in South Central in the

1:05:13.760 --> 1:05:17.920
<v Speaker 3>thirties who all made very dramatically different choices about what

1:05:17.960 --> 1:05:20.760
<v Speaker 3>to do with their anger, and his was the most stark,

1:05:21.480 --> 1:05:24.520
<v Speaker 3>and he was the one that went furthest and he

1:05:24.680 --> 1:05:26.640
<v Speaker 3>was the one who makes the least sense to us today.

1:05:27.160 --> 1:05:29.800
<v Speaker 3>And so I want to tell that he grew up

1:05:29.800 --> 1:05:34.160
<v Speaker 3>with Jackie Robinson, Right, Jackie Robinson goes this way with

1:05:34.240 --> 1:05:37.040
<v Speaker 3>his anger. Tom Bradley goes this way with his anger.

1:05:38.080 --> 1:05:38.880
<v Speaker 3>Super interesting.

1:05:39.400 --> 1:05:45.080
<v Speaker 1>That is interesting because I think historically Black people and anger,

1:05:46.120 --> 1:05:49.280
<v Speaker 1>There's like I grew up in you weren't allowed to

1:05:49.320 --> 1:05:52.360
<v Speaker 1>be angry in my household without paying a price for it.

1:05:52.960 --> 1:05:56.280
<v Speaker 1>And even today, you know, for black people to walk around,

1:05:56.800 --> 1:05:59.000
<v Speaker 1>no one wants to get tag, you know, the angry

1:05:59.040 --> 1:06:02.240
<v Speaker 1>black person at work or exactly. You know, for me,

1:06:03.080 --> 1:06:08.440
<v Speaker 1>so many years of unexpressed emotions, I fear that that

1:06:08.520 --> 1:06:11.400
<v Speaker 1>anger might result into something else, which is why I like,

1:06:12.520 --> 1:06:14.680
<v Speaker 1>maybe I chose music to.

1:06:15.240 --> 1:06:20.400
<v Speaker 3>So Tom Bradley, the central drama of his life is

1:06:20.400 --> 1:06:24.200
<v Speaker 3>that he honestly he joins the LAPD in the nineteen forties, okay,

1:06:24.680 --> 1:06:26.840
<v Speaker 3>and honestly believes that he could be the first black

1:06:28.000 --> 1:06:31.360
<v Speaker 3>police chief of LA because in his own eyes, he's

1:06:31.400 --> 1:06:36.800
<v Speaker 3>the smartest, he's the he's the biggest, he's the handsomest,

1:06:37.000 --> 1:06:40.680
<v Speaker 3>he's the best, and he's that all that is true.

1:06:40.720 --> 1:06:43.680
<v Speaker 3>The guy was like a super star like you cannot imagine,

1:06:44.160 --> 1:06:46.520
<v Speaker 3>and he naively believed that would be enough to allow

1:06:46.600 --> 1:06:49.880
<v Speaker 3>him to be chief of the LAPD. And he gets

1:06:50.160 --> 1:06:54.560
<v Speaker 3>this far and they they shut him down, and he

1:06:54.600 --> 1:07:00.480
<v Speaker 3>spends the rest of his life dealing with the consequences.

1:06:59.720 --> 1:07:03.080
<v Speaker 1>Of that rejection, despite being the mayor of Los Angeles.

1:07:03.080 --> 1:07:04.560
<v Speaker 4>Mayor is the consolation prize.

1:07:06.000 --> 1:07:08.560
<v Speaker 1>He'd rather be Oh my god.

1:07:08.400 --> 1:07:10.400
<v Speaker 3>That was your this is the this is the thing

1:07:10.400 --> 1:07:12.120
<v Speaker 3>about him that's so fascinating.

1:07:12.680 --> 1:07:14.440
<v Speaker 4>Mayor is the consolation prize.

1:07:14.480 --> 1:07:17.000
<v Speaker 3>It's what he did because he couldn't be LAPD chief

1:07:17.720 --> 1:07:21.360
<v Speaker 3>and Rodney King is his. He waits thirty years for

1:07:21.400 --> 1:07:24.560
<v Speaker 3>his revenge and keeps his anger in check until Rodney

1:07:24.640 --> 1:07:27.040
<v Speaker 3>King allows him to go back and eviscerate the LAPD.

1:07:27.760 --> 1:07:30.880
<v Speaker 3>It is like that. It is all about revenge. Is

1:07:30.880 --> 1:07:33.840
<v Speaker 3>a dish best served cold. That's his whole life. He

1:07:34.040 --> 1:07:40.400
<v Speaker 3>like didn't let anyone see how absolutely devastated and furious

1:07:40.400 --> 1:07:41.040
<v Speaker 3>he was over.

1:07:40.920 --> 1:07:42.400
<v Speaker 1>That regispite being mayor.

1:07:43.480 --> 1:07:45.520
<v Speaker 3>It was it was not it was all about. It

1:07:45.640 --> 1:07:50.360
<v Speaker 3>was all about. It's an incredibly, incredibly and there's this story.

1:07:51.200 --> 1:07:52.600
<v Speaker 4>Okay, we're going on, but I can tell you one

1:07:52.640 --> 1:07:53.600
<v Speaker 4>last Braddy story.

1:07:53.720 --> 1:07:57.240
<v Speaker 3>Yeah, he's the first black guy to move into a

1:07:57.240 --> 1:08:04.160
<v Speaker 3>neighborhood in in our which was previously a redlined, all

1:08:04.160 --> 1:08:04.920
<v Speaker 3>white neighborhood.

1:08:05.720 --> 1:08:08.840
<v Speaker 4>And they change. The Supreme Court has out ruling.

1:08:08.920 --> 1:08:11.880
<v Speaker 3>It allows a lot people to move in, and it

1:08:11.960 --> 1:08:13.880
<v Speaker 3>still has his resistance. He gets a white person to

1:08:13.880 --> 1:08:17.000
<v Speaker 3>buy the property forum and then they switch the.

1:08:16.479 --> 1:08:19.440
<v Speaker 4>Thing and he drives with his family.

1:08:20.280 --> 1:08:22.640
<v Speaker 3>Through the streets and all of the other people in

1:08:22.680 --> 1:08:24.880
<v Speaker 3>the neighborhood come out on the sidewalk to watch the

1:08:24.920 --> 1:08:26.479
<v Speaker 3>first black family move in, and.

1:08:26.400 --> 1:08:29.800
<v Speaker 4>They are, you know, screaming at him and yelling.

1:08:30.320 --> 1:08:33.599
<v Speaker 3>And remember he's six foot six two point fifty and

1:08:33.720 --> 1:08:37.679
<v Speaker 3>like he parks his car in his driveway, gets out,

1:08:37.960 --> 1:08:41.559
<v Speaker 3>and out emerges this enormous man in his policeman's unique form.

1:08:41.760 --> 1:08:44.240
<v Speaker 3>He takes out his gun and he holds it up

1:08:44.320 --> 1:08:47.320
<v Speaker 3>like this. He turns and faces everyone and marches his

1:08:47.320 --> 1:08:50.920
<v Speaker 3>family into his house. And then this is the best part.

1:08:51.840 --> 1:08:54.400
<v Speaker 3>The next morning he knocks on his neighbor's door, the

1:08:54.439 --> 1:08:56.439
<v Speaker 3>neighbor who is the most upset about him moving in

1:08:56.760 --> 1:09:00.679
<v Speaker 3>and says, you know, ma'am, I see your lawn needs mowing.

1:09:00.720 --> 1:09:02.439
<v Speaker 3>I'd like to mow your lawn. And he mows her

1:09:02.520 --> 1:09:07.760
<v Speaker 3>lawn every week until she does. That's Tom Bradley. Think

1:09:07.800 --> 1:09:08.240
<v Speaker 3>of that out.

1:09:09.080 --> 1:09:11.280
<v Speaker 1>I need you to write this book. Ladies and gentlemen.

1:09:11.360 --> 1:09:19.600
<v Speaker 1>Malcolm Gladwell, thank you for joining me on QLs and

1:09:19.600 --> 1:09:21.439
<v Speaker 1>I'll see you all the next go around. See y'all.

1:09:30.360 --> 1:09:33.839
<v Speaker 1>Quest Love Shows hosted by me Amir quest Love Thompson.

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