1
00:00:03,800 --> 00:00:05,600
Speaker 1: I think it was probably a trying time for Andy

2
00:00:05,760 --> 00:00:07,640
Speaker 1: sitting across from me, but he set up a little

3
00:00:07,680 --> 00:00:09,639
Speaker 1: black and white TV in the kitchen for me, and

4
00:00:09,680 --> 00:00:11,559
Speaker 1: the Yankees were on and I was the Yankees guy,

5
00:00:11,600 --> 00:00:13,640
Speaker 1: and he put it on. He kept just he would

6
00:00:13,680 --> 00:00:15,720
Speaker 1: walk over a couple hours and just walk up and

7
00:00:15,720 --> 00:00:20,800
Speaker 1: just say, do you like Famous Amous cookies? And I go, yeah, yeah, yeah.

8
00:00:21,040 --> 00:00:25,360
Speaker 1: You drop off a crook, can't walk away. Welcome to

9
00:00:25,400 --> 00:00:29,240
Speaker 1: episode three ninety one. Sam Hollander. I was at there's

10
00:00:29,240 --> 00:00:30,880
Speaker 1: a little driving Ranger in my house. I went too

11
00:00:30,880 --> 00:00:33,120
Speaker 1: for like thirty minutes yesterday that my golf clubs and

12
00:00:33,159 --> 00:00:35,000
Speaker 1: back at the car, had a little time to kill,

13
00:00:35,520 --> 00:00:38,080
Speaker 1: and so I stopped it hit some balls, and I

14
00:00:38,240 --> 00:00:40,480
Speaker 1: was listening to the Weezer song records, the new song

15
00:00:40,720 --> 00:00:44,440
Speaker 1: I got records in my head and it's in my

16
00:00:44,520 --> 00:00:48,480
Speaker 1: head every it I've got, And so Sam Hollander wrote

17
00:00:48,560 --> 00:00:50,280
Speaker 1: that song and we talked about it coming up in

18
00:00:50,320 --> 00:00:53,400
Speaker 1: a minute. But that's new Weezer. But I could list you,

19
00:00:53,640 --> 00:00:54,920
Speaker 1: and I think I probably will, but I want to

20
00:00:54,960 --> 00:00:56,960
Speaker 1: say he's got a book called twenty one Hit Wonder

21
00:00:57,440 --> 00:00:59,960
Speaker 1: and you get it at Sam Hollander Songs dot Com,

22
00:01:00,200 --> 00:01:02,080
Speaker 1: or you can search twenty one hit Wonder on Amazon.

23
00:01:02,600 --> 00:01:04,880
Speaker 1: That being said, I felt like I could have done

24
00:01:04,920 --> 00:01:07,319
Speaker 1: two to three hours with Sam. He just had a

25
00:01:07,360 --> 00:01:13,360
Speaker 1: story about everything, from whose babysitter was, his parents, all

26
00:01:13,400 --> 00:01:15,560
Speaker 1: the songs that he wrote, and I can list some

27
00:01:15,600 --> 00:01:21,320
Speaker 1: of them here, Panic at the Disco, High Hopes, Fits

28
00:01:21,319 --> 00:01:28,640
Speaker 1: in the Tantrums, Handclapp, Boys Like Girls, The Great Escape,

29
00:01:29,080 --> 00:01:31,760
Speaker 1: Jim Class Heroes, he produces when a Cupid show called

30
00:01:33,920 --> 00:01:39,800
Speaker 1: metro Stations Shake It. He's just got so much. He's

31
00:01:39,840 --> 00:01:42,479
Speaker 1: got over twenty two US top forty hits, ten number ones,

32
00:01:42,920 --> 00:01:46,280
Speaker 1: ten top fives, eighty seven top tens. Globally, his songs

33
00:01:46,280 --> 00:01:49,080
Speaker 1: have streamed over five billion times. In twenty nineteen, held

34
00:01:49,080 --> 00:01:51,200
Speaker 1: the number one position on the Billboard Rock Songwriters Chart

35
00:01:51,240 --> 00:01:54,040
Speaker 1: for nine weeks, which was a year end record. I

36
00:01:54,040 --> 00:01:56,080
Speaker 1: don't know. I liked the guy. You know, I always

37
00:01:56,280 --> 00:02:00,680
Speaker 1: will kind of feel their energy and fully give that

38
00:02:00,720 --> 00:02:02,960
Speaker 1: back to them so they feel comfortable. And what I

39
00:02:02,960 --> 00:02:06,040
Speaker 1: liked about Sam was he's like, hey, man, what's up Sam?

40
00:02:06,400 --> 00:02:09,640
Speaker 1: Hanging out with chilling. He's so dry sometimes I didn't

41
00:02:09,639 --> 00:02:11,120
Speaker 1: know if he was joking or not. And then I

42
00:02:11,200 --> 00:02:12,639
Speaker 1: just sit there and be like, I'm gonna let you

43
00:02:12,639 --> 00:02:13,919
Speaker 1: say the next thing because I don't know if you're

44
00:02:13,960 --> 00:02:15,960
Speaker 1: kidding or not. Like talking about the baham In when

45
00:02:16,000 --> 00:02:17,760
Speaker 1: he worked with them, there's just a lot where I

46
00:02:17,760 --> 00:02:19,040
Speaker 1: was I don't know if he's kidding, And then sometimes

47
00:02:19,080 --> 00:02:22,000
Speaker 1: he wasn't kidding, especially the kids Bop stuff. Yeah, kids Bop.

48
00:02:22,040 --> 00:02:24,240
Speaker 1: I was like, is this a joke? It turns out

49
00:02:24,240 --> 00:02:26,720
Speaker 1: it wasn't a joke. So just a really cool story.

50
00:02:26,760 --> 00:02:29,480
Speaker 1: I mean, Sam spent thirty years just kind of fighting

51
00:02:29,520 --> 00:02:34,280
Speaker 1: through this songwriting and the rapping and the producing, and

52
00:02:34,320 --> 00:02:35,880
Speaker 1: he put all this in a book and he's speaking

53
00:02:35,919 --> 00:02:37,360
Speaker 1: in a lot of places, and he's donating all the

54
00:02:37,440 --> 00:02:40,760
Speaker 1: money to musicians on call. It's a very inspiring story.

55
00:02:40,760 --> 00:02:44,400
Speaker 1: It's a very entertaining story. And again Sam Hollandersongs dot

56
00:02:44,480 --> 00:02:47,120
Speaker 1: Com or twenty one Hit Wonder that's the name of

57
00:02:47,120 --> 00:02:48,679
Speaker 1: the book. You can buy it on Amazon. What was

58
00:02:48,720 --> 00:02:50,560
Speaker 1: your main takeaway here, Mike with Sam that you can

59
00:02:50,800 --> 00:02:52,919
Speaker 1: get it start later in life. Yeah, he didn't write

60
00:02:52,919 --> 00:02:57,839
Speaker 1: his first number one till after he had failed doing

61
00:02:57,880 --> 00:03:02,960
Speaker 1: other things hard. Then you know, there's a story. I

62
00:03:03,040 --> 00:03:04,720
Speaker 1: never want to say too much in this part of

63
00:03:04,760 --> 00:03:06,960
Speaker 1: it because it's so good. But there's one story about

64
00:03:06,960 --> 00:03:09,880
Speaker 1: a tragedy happening like right when he's about to launch something.

65
00:03:10,040 --> 00:03:12,120
Speaker 1: So if it wasn't him failing, it was like things

66
00:03:12,160 --> 00:03:15,320
Speaker 1: happening around it that cause things not to go right.

67
00:03:16,240 --> 00:03:18,400
Speaker 1: But then he hit it, and I hope you like it.

68
00:03:18,800 --> 00:03:20,760
Speaker 1: I enjoyed it a whole bunch. Here he is, and

69
00:03:20,840 --> 00:03:22,480
Speaker 1: follow him on Instagram if you don't even want to

70
00:03:22,480 --> 00:03:23,920
Speaker 1: see what his face looks like. I like to do

71
00:03:23,960 --> 00:03:28,760
Speaker 1: that at Sam Hollander And here he is, Sam. How

72
00:03:28,880 --> 00:03:32,680
Speaker 1: is your day today? Hey? Pretty good? Pretty glorious. Man.

73
00:03:32,960 --> 00:03:36,080
Speaker 1: You know, here's my problem. The shirt. I'm more in

74
00:03:36,120 --> 00:03:38,520
Speaker 1: the T shirt. I think a woman's shirt. This one.

75
00:03:39,080 --> 00:03:41,400
Speaker 1: I didn't realize it and then I was looking in

76
00:03:41,400 --> 00:03:42,920
Speaker 1: the mirror and I was like, that's a woman shirt.

77
00:03:43,240 --> 00:03:44,640
Speaker 1: So I put this on over the top, so you

78
00:03:44,680 --> 00:03:46,040
Speaker 1: think I was at least kind of cool. It was

79
00:03:46,080 --> 00:03:49,360
Speaker 1: up from your Zomba class. You know, that's the one

80
00:03:49,400 --> 00:03:51,760
Speaker 1: class I haven't done. Zoba. Have you ever been to Zoomba?

81
00:03:52,640 --> 00:03:55,920
Speaker 1: You know? Honestly, I don't want to make this awkward

82
00:03:55,920 --> 00:03:58,400
Speaker 1: for you, but actually trademark the name Zimba. I actually

83
00:03:58,400 --> 00:04:01,200
Speaker 1: created Zimba. You didn't know I am the forbidden dance.

84
00:04:01,360 --> 00:04:03,840
Speaker 1: You didn't I trademark zoom bass. I mean you've done

85
00:04:03,880 --> 00:04:06,160
Speaker 1: everything else right, man? Have you ever been to a

86
00:04:06,200 --> 00:04:09,840
Speaker 1: zoomba class? Though? Um, I've actually witnessed a zumba class,

87
00:04:09,920 --> 00:04:11,600
Speaker 1: but you haven't done it. Oh look at me? Have

88
00:04:11,640 --> 00:04:14,960
Speaker 1: you done tybo back in the day? Can Tybo can

89
00:04:15,040 --> 00:04:17,359
Speaker 1: say something true? Yeah? I actually had a song on

90
00:04:17,400 --> 00:04:24,120
Speaker 1: a Tybo vhs Banks Billy Blanks. What song was that though? Um?

91
00:04:24,160 --> 00:04:27,000
Speaker 1: It was called Supersonic Love, and the royalties from that

92
00:04:27,080 --> 00:04:29,960
Speaker 1: would definitely paid for the bottle of water. You guys

93
00:04:30,360 --> 00:04:33,640
Speaker 1: were nice enough to push them on directions. So it

94
00:04:33,720 --> 00:04:36,599
Speaker 1: wasn't like a massive song they wanted to put in it. No, No,

95
00:04:36,839 --> 00:04:38,640
Speaker 1: it was. It was a filler song. It was a

96
00:04:38,680 --> 00:04:42,040
Speaker 1: song of like many of my other early releases, that

97
00:04:42,200 --> 00:04:45,320
Speaker 1: was dropped by a record label, and I found a

98
00:04:45,360 --> 00:04:47,680
Speaker 1: way to make five dollars off of it. So you know,

99
00:04:47,720 --> 00:04:50,960
Speaker 1: when I was going through your entire catalog of songs

100
00:04:50,960 --> 00:04:53,480
Speaker 1: you wrote and produced, and it's it's it's so many

101
00:04:53,600 --> 00:04:56,159
Speaker 1: massive hits, and you know the song that I really

102
00:04:56,200 --> 00:05:00,560
Speaker 1: liked of yours, that I felt like was gonna like

103
00:05:00,600 --> 00:05:02,640
Speaker 1: and it's still this sometimes because they played a clip

104
00:05:02,640 --> 00:05:05,840
Speaker 1: of it in at the Naum stadiums all the time.

105
00:05:06,320 --> 00:05:08,839
Speaker 1: Is handclap. That's a fun little dud. Yeah, because they

106
00:05:08,880 --> 00:05:11,720
Speaker 1: do a lot of the in the stadiums. I was

107
00:05:11,760 --> 00:05:14,800
Speaker 1: a pioneer in jack Jams. You know what I mean.

108
00:05:15,080 --> 00:05:18,839
Speaker 1: That's a jock jam. Remember the Tommy Boy Jack Jams compilation. Absolutely,

109
00:05:19,279 --> 00:05:22,640
Speaker 1: I had jock Jam one in Foyee goal. Yes, I

110
00:05:22,680 --> 00:05:25,960
Speaker 1: had jock Jam two. Are you ready for this? Do do? Do?

111
00:05:26,080 --> 00:05:27,640
Speaker 1: Dot dot? And then it was just one to one

112
00:05:27,640 --> 00:05:30,240
Speaker 1: to the other. I went. I actually sat in on

113
00:05:30,360 --> 00:05:33,960
Speaker 1: the uh the commercial for jack Jams two. My friend

114
00:05:34,040 --> 00:05:36,680
Speaker 1: Kennedy directed it, and uh I got to watch Michael

115
00:05:36,680 --> 00:05:38,960
Speaker 1: Buffer do his thing in real time on a commercial,

116
00:05:38,960 --> 00:05:41,520
Speaker 1: which was pretty cool because he does in the middle

117
00:05:41,560 --> 00:05:44,200
Speaker 1: of the jock jams, even the single version when I

118
00:05:44,240 --> 00:05:46,039
Speaker 1: was because I did pop radio for a long time,

119
00:05:46,279 --> 00:05:50,600
Speaker 1: he would do the let's get ready to rumble? Oh man,

120
00:05:50,839 --> 00:05:53,320
Speaker 1: that's like so handclap was my version of a jack jam.

121
00:05:53,360 --> 00:05:56,120
Speaker 1: I guess I don't think it was necessarily constructed that way,

122
00:05:56,160 --> 00:05:59,640
Speaker 1: but um, it's funny. I mean it really, it's still

123
00:05:59,720 --> 00:06:02,839
Speaker 1: play it every supporting thing around the world and it's neat,

124
00:06:02,920 --> 00:06:04,960
Speaker 1: especially in New York because I hear it, you know,

125
00:06:05,240 --> 00:06:06,960
Speaker 1: at the Yankee Games, at the Nick Games, at the

126
00:06:07,040 --> 00:06:08,560
Speaker 1: Neck Games. It's kind of fun. Do you ever stand

127
00:06:08,640 --> 00:06:10,000
Speaker 1: up in a wave? That's what I would do when

128
00:06:10,000 --> 00:06:12,320
Speaker 1: you that's played to stand up, be like, that's that's me.

129
00:06:13,040 --> 00:06:15,200
Speaker 1: If I do that, then that's the moment they stopped

130
00:06:15,200 --> 00:06:16,920
Speaker 1: playing it when they realize what I looked like. That

131
00:06:16,960 --> 00:06:20,080
Speaker 1: would be at the end of it, when you when

132
00:06:20,120 --> 00:06:23,400
Speaker 1: when I look at again your massive body of work,

133
00:06:23,720 --> 00:06:30,000
Speaker 1: there are so many even micro hooks or catchy things

134
00:06:30,040 --> 00:06:34,960
Speaker 1: that I think, Nana, Nana, that was a fun yeah

135
00:06:35,000 --> 00:06:37,000
Speaker 1: that I'm not responsible for that. I just took a

136
00:06:37,000 --> 00:06:39,960
Speaker 1: free ride on. But it's a nice little ditty. No. Yeah,

137
00:06:40,160 --> 00:06:42,320
Speaker 1: there's the thing. One thing I would say is I

138
00:06:42,400 --> 00:06:46,040
Speaker 1: am I love immediacy in music, you know what I mean.

139
00:06:46,160 --> 00:06:47,560
Speaker 1: And I think it's born out of the fact that

140
00:06:47,600 --> 00:06:50,640
Speaker 1: I think most kids today have, you know, severely warped

141
00:06:50,680 --> 00:06:54,600
Speaker 1: attention spans. So when I'm digging in, I'm really just

142
00:06:54,640 --> 00:06:57,240
Speaker 1: trying to get it in the intro immediately. And you

143
00:06:57,240 --> 00:06:59,320
Speaker 1: know you TikTok before it was TikTok. It's what it

144
00:06:59,320 --> 00:07:01,480
Speaker 1: sounds like. I'm i gonna say two seconds. I'll put

145
00:07:01,480 --> 00:07:04,200
Speaker 1: it like this. If I had been born in a

146
00:07:04,240 --> 00:07:06,440
Speaker 1: previous decade, I would not have been able to make

147
00:07:06,480 --> 00:07:08,800
Speaker 1: Emerson Lake on Palmer Records, you know what I mean.

148
00:07:09,200 --> 00:07:11,280
Speaker 1: It would have been a very different wiring. So there's

149
00:07:11,320 --> 00:07:14,120
Speaker 1: no twelve minute intro in my vocab. So I was

150
00:07:14,160 --> 00:07:18,920
Speaker 1: listening yesterday to Derek and the Domino's Leila, and you know,

151
00:07:19,000 --> 00:07:22,320
Speaker 1: the song plays and hello, it's not the Clapton unplugged,

152
00:07:22,320 --> 00:07:24,840
Speaker 1: it's the you know, the original, you know. And at

153
00:07:24,840 --> 00:07:31,000
Speaker 1: the end it's a five minute piano So yeah, culture

154
00:07:31,000 --> 00:07:33,160
Speaker 1: every time. Look, man, I wish, I wish I could

155
00:07:33,200 --> 00:07:34,520
Speaker 1: have been that guy. But true, I would have been

156
00:07:34,520 --> 00:07:35,680
Speaker 1: the guy who would have said to them in their

157
00:07:35,680 --> 00:07:37,960
Speaker 1: main man, let's dedit this thing now, letten, Let's make

158
00:07:37,960 --> 00:07:41,239
Speaker 1: it to like two minutes and forty seconds. Joy. Yeah

159
00:07:41,240 --> 00:07:46,960
Speaker 1: it was and then. And I can enjoy older songs

160
00:07:47,040 --> 00:07:50,360
Speaker 1: from before even you know, we were making anything creatively

161
00:07:50,480 --> 00:07:53,080
Speaker 1: it's jokes or music. I can enjoy the process and

162
00:07:53,120 --> 00:07:55,720
Speaker 1: how culture was different then. And but even that outro

163
00:07:55,840 --> 00:07:59,160
Speaker 1: in that song, I was like, were they high drugs? Yeah?

164
00:07:59,200 --> 00:08:01,480
Speaker 1: It was just it just continued on and and I've

165
00:08:01,480 --> 00:08:03,400
Speaker 1: heard it a hundred times, but as in my car

166
00:08:03,440 --> 00:08:06,520
Speaker 1: and I we have an old Bronco that just has

167
00:08:06,840 --> 00:08:11,080
Speaker 1: to Russial radio only awesome, and I was like, I

168
00:08:11,440 --> 00:08:13,320
Speaker 1: don't know what the channels are, so I'm not gonna

169
00:08:13,360 --> 00:08:15,040
Speaker 1: change it. So I'm gonna listen to this four minute

170
00:08:15,040 --> 00:08:17,840
Speaker 1: outro of the entire Leila you gotta stick it out,

171
00:08:17,880 --> 00:08:20,320
Speaker 1: which is the exact opposite of Nana No No, because

172
00:08:20,320 --> 00:08:23,000
Speaker 1: immediately you got us with cupid chokehold you know what.

173
00:08:23,080 --> 00:08:25,280
Speaker 1: That was the genius of traving McCoy and he was

174
00:08:25,360 --> 00:08:27,480
Speaker 1: driving it and he once again he let me hitch

175
00:08:27,520 --> 00:08:30,320
Speaker 1: onto his wagon on that one. But um no, it's

176
00:08:30,320 --> 00:08:33,360
Speaker 1: just a really really I do like going for the

177
00:08:33,440 --> 00:08:36,000
Speaker 1: jugular early on, you know, And maybe it's I have

178
00:08:36,120 --> 00:08:38,560
Speaker 1: no sense of dynamic anymore and I'm just warped, But

179
00:08:38,920 --> 00:08:41,360
Speaker 1: I really just like things just sort of from the

180
00:08:41,679 --> 00:08:44,680
Speaker 1: from the initial onset. I just wanted to hit where

181
00:08:44,679 --> 00:08:47,000
Speaker 1: did that come from? Or what music did you like?

182
00:08:47,840 --> 00:08:50,040
Speaker 1: Or what was it that you didn't like so much

183
00:08:50,120 --> 00:08:52,960
Speaker 1: that made you go we gotta grab him quick? Well?

184
00:08:53,000 --> 00:08:54,880
Speaker 1: I don't know, I mean, I grew up. I was

185
00:08:55,040 --> 00:08:57,960
Speaker 1: the definitive ktel kid, you know, what I mean, I

186
00:08:58,000 --> 00:09:00,360
Speaker 1: was like this, you know, late seventies early He's had

187
00:09:00,360 --> 00:09:02,520
Speaker 1: all those k tail collections. And that's what I loved

188
00:09:02,559 --> 00:09:05,680
Speaker 1: because it was it was so um. It wasn't genre

189
00:09:05,760 --> 00:09:07,920
Speaker 1: specific for the most part, you know, so you could

190
00:09:07,920 --> 00:09:12,960
Speaker 1: have Seals and Crofts next to David Gates next to um,

191
00:09:13,120 --> 00:09:15,480
Speaker 1: you know, next to the Bellamy Brothers next to the

192
00:09:15,520 --> 00:09:18,960
Speaker 1: Bags or some disco stuff or kiss. So that was

193
00:09:18,960 --> 00:09:21,680
Speaker 1: my introduction of music. And the one thing I would

194
00:09:21,679 --> 00:09:24,360
Speaker 1: say is, you know, it was usually the three minute

195
00:09:24,480 --> 00:09:26,720
Speaker 1: edit on all those songs. They weren't going to let

196
00:09:26,720 --> 00:09:30,280
Speaker 1: anything go extended. So I began to hear songs truly

197
00:09:30,320 --> 00:09:32,360
Speaker 1: as like a three minute single. And I remember, I

198
00:09:32,360 --> 00:09:35,199
Speaker 1: remember when I was twenty or so and Drama Rama hit,

199
00:09:35,320 --> 00:09:38,880
Speaker 1: and I remember hearing, uh, you know, not Dramarama, what's

200
00:09:38,920 --> 00:09:42,719
Speaker 1: the what's the Delamitri would roll to me right when

201
00:09:43,320 --> 00:09:46,160
Speaker 1: hit Yeah, but that thing's like two minutes in two seconds, Rod,

202
00:09:47,120 --> 00:09:49,080
Speaker 1: It's the fastest song in history. And what I realized

203
00:09:49,080 --> 00:09:51,240
Speaker 1: about that song was one reason why I crushed it

204
00:09:51,400 --> 00:09:53,560
Speaker 1: radio is because you could fit it into any slot

205
00:09:53,559 --> 00:09:55,120
Speaker 1: going to a commercial. You know. It was like it

206
00:09:55,160 --> 00:09:56,840
Speaker 1: was so short that it could work as a bumper

207
00:09:56,880 --> 00:09:58,839
Speaker 1: to things. So then I just sort of got in

208
00:09:58,880 --> 00:10:02,800
Speaker 1: that notion. So I guess I am TikTok pioneer Bobby

209
00:10:03,000 --> 00:10:05,520
Speaker 1: what And that's what I thought, because everything goes quick,

210
00:10:05,559 --> 00:10:07,440
Speaker 1: short attention span. You hit us quick. You give us

211
00:10:07,440 --> 00:10:08,839
Speaker 1: what we're gonna need to know when that song's over,

212
00:10:09,320 --> 00:10:10,920
Speaker 1: and if we don't listen to all of it, that's fine.

213
00:10:11,320 --> 00:10:12,800
Speaker 1: If we do, we got it. I could do that

214
00:10:12,840 --> 00:10:14,520
Speaker 1: with many of your songs and we can shake it

215
00:10:14,640 --> 00:10:18,160
Speaker 1: Metro station shake. It's a zumba classic. Now see when

216
00:10:18,160 --> 00:10:19,800
Speaker 1: you talk about zoom, but you lose me a little bit.

217
00:10:19,880 --> 00:10:22,320
Speaker 1: And I think you're kidding because you only witnessed one.

218
00:10:22,720 --> 00:10:25,000
Speaker 1: If you said tibout, I believe you because you probably

219
00:10:25,000 --> 00:10:26,959
Speaker 1: saw a few more of those since you made five

220
00:10:27,000 --> 00:10:30,400
Speaker 1: bucks off of it, and say a few more, Bobby.

221
00:10:31,080 --> 00:10:34,040
Speaker 1: Growing up in New York, how much of your childhood

222
00:10:34,280 --> 00:10:37,959
Speaker 1: to early adulthood were you there? Mostly? I was there

223
00:10:38,000 --> 00:10:40,720
Speaker 1: every day. I mean the city was like until what age,

224
00:10:41,280 --> 00:10:43,360
Speaker 1: you know? I was in the New York till I

225
00:10:43,440 --> 00:10:45,760
Speaker 1: was the age of forty Okay, so I never left.

226
00:10:46,000 --> 00:10:49,200
Speaker 1: So does that mean you're a billy Joel guy? I'm

227
00:10:49,200 --> 00:10:50,920
Speaker 1: a Springsteen m Billy Joel Guy, which is kind of

228
00:10:50,960 --> 00:10:52,960
Speaker 1: a rarity, you know what I mean, they're in the

229
00:10:53,360 --> 00:10:55,839
Speaker 1: in the Tristate area. I do sometimes feel there's like

230
00:10:55,880 --> 00:10:58,439
Speaker 1: a defined Mason Dixon between the two. Almost Mets Yankees,

231
00:10:58,480 --> 00:11:03,000
Speaker 1: ye undred percent. I'm definitely Yankees, um, but for Billy.

232
00:11:03,200 --> 00:11:05,360
Speaker 1: You know, it's funny because Billie's thing. I love on

233
00:11:05,440 --> 00:11:10,240
Speaker 1: the theatricality, and I love um the nods to um,

234
00:11:10,320 --> 00:11:12,640
Speaker 1: you know, Sinatra and all the you know, sort of

235
00:11:13,000 --> 00:11:15,840
Speaker 1: rappack kind of crooners, some the way he fused like

236
00:11:16,000 --> 00:11:20,320
Speaker 1: theatrical crooner doom, you know. And then Springsteen. I love

237
00:11:20,400 --> 00:11:22,599
Speaker 1: the word play. So Springsteen was a huge influence for

238
00:11:22,679 --> 00:11:25,080
Speaker 1: me because I really really dug especially on Greetings from

239
00:11:25,120 --> 00:11:29,320
Speaker 1: Asbury Park, that first record. Um, there's it's you know,

240
00:11:29,360 --> 00:11:32,040
Speaker 1: he's pulling all this Dylan stuff, but there's just something

241
00:11:32,080 --> 00:11:34,160
Speaker 1: about what he was doing melodically on that first record

242
00:11:34,200 --> 00:11:36,280
Speaker 1: that blew my head. That's one of my first favorite records.

243
00:11:36,679 --> 00:11:38,720
Speaker 1: So there had to be so much music around you,

244
00:11:38,760 --> 00:11:40,440
Speaker 1: even if you didn't get to go to it. To

245
00:11:40,440 --> 00:11:42,000
Speaker 1: just be living in New York City, I mean, I

246
00:11:42,040 --> 00:11:44,040
Speaker 1: grew up in Mountain Pine, Arkansas. There was no music

247
00:11:44,040 --> 00:11:46,520
Speaker 1: around me, so anything I got had to be only

248
00:11:46,559 --> 00:11:49,679
Speaker 1: from the radio or driving to get a tape which

249
00:11:49,760 --> 00:11:51,080
Speaker 1: later turned into a CD. So it was like the

250
00:11:51,120 --> 00:11:53,880
Speaker 1: nearest big venue hour and a half and it was

251
00:11:53,960 --> 00:11:59,400
Speaker 1: little rock. Well, and it's another end every three months, right,

252
00:11:59,679 --> 00:12:05,680
Speaker 1: you know? So was it important to whomever was raising

253
00:12:05,679 --> 00:12:07,559
Speaker 1: you to make sure that you were cultured at all

254
00:12:07,559 --> 00:12:09,640
Speaker 1: while living in New York? One thousand percent? Like you know,

255
00:12:09,679 --> 00:12:12,760
Speaker 1: I was exposed to the arts early on my UM,

256
00:12:12,800 --> 00:12:14,439
Speaker 1: I know the whole appeal to you, but my dad

257
00:12:14,480 --> 00:12:17,679
Speaker 1: was a modern dancer and I know you're you're very

258
00:12:17,720 --> 00:12:19,959
Speaker 1: well dashed in the modern and Dan, well, you're a

259
00:12:20,000 --> 00:12:25,439
Speaker 1: champion dance. Um, so it's very very important to um.

260
00:12:25,960 --> 00:12:27,560
Speaker 1: You know, my dad was a dancer and then he

261
00:12:27,600 --> 00:12:29,240
Speaker 1: became an architect, but he was a modern He was

262
00:12:29,240 --> 00:12:31,960
Speaker 1: a professional dancer kind of dancer. What he specialized in.

263
00:12:32,080 --> 00:12:34,320
Speaker 1: He was with the Jose Lemone group doing modern dance

264
00:12:34,360 --> 00:12:36,560
Speaker 1: in the nineteen fifties. And how did he get started

265
00:12:36,559 --> 00:12:38,960
Speaker 1: in that? He started dancing like eleven, was professional at

266
00:12:39,000 --> 00:12:43,160
Speaker 1: seventeen toward the entire world. Broke every toe on both

267
00:12:43,200 --> 00:12:45,439
Speaker 1: feet by the time he was twenty three, went back

268
00:12:45,480 --> 00:12:48,600
Speaker 1: to Yale and became an architect. Do you remember him

269
00:12:48,679 --> 00:12:50,960
Speaker 1: dancing at all? No, I wasn't okay, so you were

270
00:12:51,120 --> 00:12:55,240
Speaker 1: not two hundred Yeah, jeez, man, But I didn't know

271
00:12:55,240 --> 00:12:58,920
Speaker 1: if he's still like dance recreationally. He didn't dance recreationally,

272
00:12:58,920 --> 00:13:00,720
Speaker 1: but you know, it's funny. He would sway around the room.

273
00:13:00,760 --> 00:13:02,240
Speaker 1: He was an incredible guy. Man. He was just so

274
00:13:02,360 --> 00:13:05,760
Speaker 1: rhythmic and cool. So when I listen to music and

275
00:13:05,880 --> 00:13:08,959
Speaker 1: I sort of was less versed in my steps, I

276
00:13:08,960 --> 00:13:10,920
Speaker 1: would watch him in the background listening to music, and

277
00:13:11,000 --> 00:13:13,440
Speaker 1: the way he flowed was magical. Its beautiful. And my

278
00:13:13,480 --> 00:13:16,679
Speaker 1: mom was an artist too, so I mom was what

279
00:13:16,800 --> 00:13:18,520
Speaker 1: kind of artists? My mom was a heavy cat man.

280
00:13:18,559 --> 00:13:21,560
Speaker 1: My mom was like really like that. She was an

281
00:13:21,600 --> 00:13:26,000
Speaker 1: interior designer, but she came from the bottom of this thing.

282
00:13:26,080 --> 00:13:28,440
Speaker 1: She just started at the very pit of this thing.

283
00:13:28,480 --> 00:13:31,960
Speaker 1: And she became an expert on Victorian era furniture and

284
00:13:32,080 --> 00:13:35,920
Speaker 1: which is a very strange sort of lane. And she

285
00:13:36,040 --> 00:13:38,240
Speaker 1: really became like one of them foremost experts on it

286
00:13:38,320 --> 00:13:40,960
Speaker 1: overnight and started doing apartments. But when I was a

287
00:13:40,960 --> 00:13:43,880
Speaker 1: little kid, she was sort of carrying our thing and

288
00:13:43,960 --> 00:13:48,880
Speaker 1: she did Mick Jagger's apartment, Eve Saan Laurent's apartment, all

289
00:13:48,920 --> 00:13:52,080
Speaker 1: these sort of studio fifty four era things. And you know,

290
00:13:52,120 --> 00:13:54,000
Speaker 1: when I was a little guy. This is probably how

291
00:13:54,000 --> 00:13:55,040
Speaker 1: I got a book deal. But when I was a

292
00:13:55,080 --> 00:13:56,920
Speaker 1: little guy, you know, and I was always pleading for

293
00:13:56,920 --> 00:13:59,400
Speaker 1: her to take me to record shops. One day she

294
00:13:59,520 --> 00:14:01,840
Speaker 1: just said, I'm gonna rop you off at a babysitter's house.

295
00:14:01,880 --> 00:14:03,599
Speaker 1: I gotta get rid of you. And she dropped me

296
00:14:03,640 --> 00:14:05,720
Speaker 1: off at Andy Warhol's and Andy Warhole used to babysit

297
00:14:05,760 --> 00:14:07,720
Speaker 1: me as a little kid, which is wild. I know

298
00:14:07,760 --> 00:14:10,120
Speaker 1: that you wrote about that in your book. It's true.

299
00:14:11,120 --> 00:14:13,280
Speaker 1: And the next question was is your book true or lies?

300
00:14:13,320 --> 00:14:15,640
Speaker 1: And so you answered that it's true too. Yeah that's good.

301
00:14:15,679 --> 00:14:17,600
Speaker 1: I like that because I we can keep going here act. Yeah,

302
00:14:17,679 --> 00:14:20,280
Speaker 1: that's good. Andy Warhole is a babysitter. Do you have

303
00:14:20,440 --> 00:14:22,360
Speaker 1: memories of that or was it before you were No?

304
00:14:22,480 --> 00:14:25,560
Speaker 1: I do, I do. Um, it happened through I would

305
00:14:25,600 --> 00:14:27,840
Speaker 1: say three three, maybe a fourth time and then needs

306
00:14:27,880 --> 00:14:30,960
Speaker 1: to come into our house too. Um. I have very

307
00:14:30,960 --> 00:14:34,760
Speaker 1: distinct memories because this was somebody who probably wasn't that

308
00:14:34,920 --> 00:14:37,440
Speaker 1: stoke to hang out with like a greasy little kid.

309
00:14:37,440 --> 00:14:40,160
Speaker 1: With nose burgers running down his face, you know. So

310
00:14:40,920 --> 00:14:42,840
Speaker 1: it was, Um, I think it was probably a trying

311
00:14:42,880 --> 00:14:45,440
Speaker 1: time for Andy sitting across from me, but you know,

312
00:14:45,480 --> 00:14:47,680
Speaker 1: he set up a little black and white TV in

313
00:14:47,680 --> 00:14:49,880
Speaker 1: the kitchen for me, and it was a little little

314
00:14:49,880 --> 00:14:52,160
Speaker 1: black and white TV and the Yankees were on and

315
00:14:52,160 --> 00:14:53,760
Speaker 1: I was the Yankees guy and he put it on.

316
00:14:53,880 --> 00:14:56,320
Speaker 1: He kept just he would walk over a couple hours

317
00:14:56,320 --> 00:14:58,920
Speaker 1: and just walk up and just say, do you like

318
00:14:59,240 --> 00:15:02,560
Speaker 1: Famous Miss Cookies? And I go, yeah, yeah, yeah, you

319
00:15:02,760 --> 00:15:05,440
Speaker 1: drop off a cookie and walk away. It was about

320
00:15:05,440 --> 00:15:07,920
Speaker 1: the extent of our frader in hissation. But it was

321
00:15:07,920 --> 00:15:09,960
Speaker 1: pretty cool. Like, you know, your mom and dad are

322
00:15:10,000 --> 00:15:12,640
Speaker 1: very interesting to me because so they pushed the arts.

323
00:15:12,840 --> 00:15:15,280
Speaker 1: So yeah, when I played culture childhood, Yeah, when I

324
00:15:15,280 --> 00:15:18,000
Speaker 1: played high school football, they thought literally like I had failed.

325
00:15:18,360 --> 00:15:21,080
Speaker 1: How did they meet? Do you know? Um? I do know.

326
00:15:21,120 --> 00:15:26,040
Speaker 1: My mom was widowed at um twenty three, and she

327
00:15:26,160 --> 00:15:29,240
Speaker 1: was widowed and she was a single mom, and she

328
00:15:29,360 --> 00:15:32,320
Speaker 1: met my dad through a friend in the city, just

329
00:15:32,360 --> 00:15:35,680
Speaker 1: like casually, and so I assumed their their bond was

330
00:15:35,800 --> 00:15:38,480
Speaker 1: something artistic, creative. It sounds like they both have that

331
00:15:38,520 --> 00:15:40,440
Speaker 1: spirit inside of that they were incredible. Man. They were

332
00:15:40,440 --> 00:15:43,000
Speaker 1: like both like they're both of their esthetics where at

333
00:15:43,000 --> 00:15:45,680
Speaker 1: like a level I've never seen. They were both everything

334
00:15:45,720 --> 00:15:47,440
Speaker 1: about them. You know. They lived in this little studio

335
00:15:47,480 --> 00:15:51,680
Speaker 1: apartment in the city and they tricked this thing out

336
00:15:51,720 --> 00:15:53,840
Speaker 1: to such an extent in like nineteen sixty nine or

337
00:15:54,120 --> 00:15:56,120
Speaker 1: before I was born, but it was in magazines. It

338
00:15:56,160 --> 00:15:58,480
Speaker 1: was featured because the design level of design was so

339
00:15:58,480 --> 00:16:00,720
Speaker 1: sophisticated and cool, Like they were just like they were

340
00:16:00,760 --> 00:16:03,080
Speaker 1: brilliant minds. So what do you remember as far as

341
00:16:03,080 --> 00:16:06,200
Speaker 1: their parenting? What was a priority from them to you

342
00:16:06,720 --> 00:16:09,080
Speaker 1: as for just being a good human? Like what were

343
00:16:09,080 --> 00:16:11,640
Speaker 1: they trying to teach you? Well, I gotta be honestly,

344
00:16:11,720 --> 00:16:17,000
Speaker 1: they were very They were very decent people. And you know,

345
00:16:17,080 --> 00:16:19,080
Speaker 1: I think the number one thing they wanted to teach

346
00:16:19,160 --> 00:16:24,040
Speaker 1: me one was aspirational things that everything was obtainable. You know.

347
00:16:24,200 --> 00:16:27,640
Speaker 1: I was blessed to have like a support network that

348
00:16:27,840 --> 00:16:29,600
Speaker 1: other kids didn't have, you know what I mean, Like,

349
00:16:29,680 --> 00:16:31,480
Speaker 1: and that's never been lost on me. Like when you

350
00:16:31,560 --> 00:16:33,920
Speaker 1: have when you're entering this business and you have two

351
00:16:33,960 --> 00:16:36,120
Speaker 1: parents who are cheering for you, hoping that you enter

352
00:16:36,200 --> 00:16:38,720
Speaker 1: something or do something different or color outside the lines.

353
00:16:38,760 --> 00:16:40,960
Speaker 1: That's pretty cool, you know, so I would say I

354
00:16:41,000 --> 00:16:43,960
Speaker 1: was blessed with that, and then you know, they were

355
00:16:44,080 --> 00:16:46,440
Speaker 1: just they were they were so kind and they're so gracious.

356
00:16:46,480 --> 00:16:49,360
Speaker 1: In our town specifically, we lived an hour north in

357
00:16:49,360 --> 00:16:53,680
Speaker 1: northern Westchester. And the way they approached everybody, they were

358
00:16:53,720 --> 00:16:56,800
Speaker 1: so they were known. They'd just be like very generous,

359
00:16:56,880 --> 00:16:59,480
Speaker 1: decent people, like they would talk to everybody. That's one

360
00:16:59,480 --> 00:17:01,920
Speaker 1: thing that was stom me early on. It's just, you know,

361
00:17:02,080 --> 00:17:03,920
Speaker 1: have no fear of talking to people, look people in

362
00:17:03,960 --> 00:17:06,800
Speaker 1: the eye, and like honestly just like be a human.

363
00:17:07,040 --> 00:17:11,240
Speaker 1: You know, I ask all the childhood stuff because I

364
00:17:11,280 --> 00:17:13,760
Speaker 1: grew into associopath. I was going to get there later

365
00:17:13,760 --> 00:17:17,080
Speaker 1: about that specifically, but it's you know, when I'm reading

366
00:17:17,119 --> 00:17:19,560
Speaker 1: about you and reading different parts of the book to Michael,

367
00:17:19,560 --> 00:17:20,960
Speaker 1: was like, you gotta read this, you gotta read this

368
00:17:21,359 --> 00:17:22,920
Speaker 1: that you didn't have it hit in two or thirty five,

369
00:17:22,960 --> 00:17:26,200
Speaker 1: Is that accurate? That's completely well memory completely you had

370
00:17:26,560 --> 00:17:29,040
Speaker 1: these parents is that you can do anything. They didn't

371
00:17:29,040 --> 00:17:33,320
Speaker 1: really set boundaries for you. Accept the boundary of you

372
00:17:33,320 --> 00:17:36,000
Speaker 1: can push the boundary as much as you'd like, hustle. Yeah,

373
00:17:36,160 --> 00:17:40,400
Speaker 1: just just just go. Just hustle, and so you're eighteen

374
00:17:40,480 --> 00:17:42,880
Speaker 1: nineteen even up twenty four twenty five, like, where did

375
00:17:42,920 --> 00:17:44,919
Speaker 1: you see your life going? What was the goal? What

376
00:17:45,000 --> 00:17:47,640
Speaker 1: was the plan? Then? Well, the plan from day one

377
00:17:47,800 --> 00:17:50,800
Speaker 1: it was I really, um, you know, I was a student.

378
00:17:50,960 --> 00:17:52,960
Speaker 1: I was a student of records, right, I mean, you know,

379
00:17:53,000 --> 00:17:55,760
Speaker 1: I collected records the way other kids collected baseball cards.

380
00:17:56,880 --> 00:17:58,680
Speaker 1: Probably had a couple of thousand records about tom I

381
00:17:58,680 --> 00:18:00,720
Speaker 1: was about twenty three twenty four because or flea markets

382
00:18:00,760 --> 00:18:03,640
Speaker 1: in the city in the mid twenties and twenty twenty

383
00:18:03,680 --> 00:18:06,000
Speaker 1: four twenty fifth where you could buy Nickel records. So

384
00:18:06,040 --> 00:18:09,800
Speaker 1: I used to stockpile Nickel records, and I just I

385
00:18:09,880 --> 00:18:12,320
Speaker 1: was like a voracious collector. I was looking at the

386
00:18:12,359 --> 00:18:14,159
Speaker 1: back and just trying to figure out who the songwriters were,

387
00:18:14,200 --> 00:18:15,840
Speaker 1: who the producers were. I grew up up watching a

388
00:18:15,880 --> 00:18:17,960
Speaker 1: lot of films, so I got really into screenwriting, right,

389
00:18:18,040 --> 00:18:20,960
Speaker 1: So I nerded out over screenwriters like I wanted to

390
00:18:20,960 --> 00:18:22,960
Speaker 1: be Albert Brooks or John Hughes are one of these cats,

391
00:18:23,000 --> 00:18:25,399
Speaker 1: you know. And so with the songwriting, it was the

392
00:18:25,440 --> 00:18:28,399
Speaker 1: same thing. And as far as my parents went, you know,

393
00:18:28,560 --> 00:18:31,919
Speaker 1: I you know, they unleashed me into the city. You know.

394
00:18:32,000 --> 00:18:33,520
Speaker 1: I went to school, I dropped out. I went to

395
00:18:33,560 --> 00:18:35,800
Speaker 1: three colleges and two semesters, which I think is pretty

396
00:18:35,840 --> 00:18:39,800
Speaker 1: unheard of, and I ended up ended up claw in

397
00:18:39,840 --> 00:18:42,639
Speaker 1: the city. But I really did have one, one singular goal,

398
00:18:42,920 --> 00:18:45,720
Speaker 1: and that was I wanted to write with artists and

399
00:18:45,800 --> 00:18:48,080
Speaker 1: really just be that voice in the room who sort

400
00:18:48,080 --> 00:18:49,800
Speaker 1: of directed the movie a little bit, you know what

401
00:18:49,840 --> 00:18:52,280
Speaker 1: I mean, who wrote the script and sort of. Um

402
00:18:52,840 --> 00:18:54,560
Speaker 1: it was a trick I learned from Nol Rodgers down

403
00:18:54,600 --> 00:18:56,959
Speaker 1: the road, but I really was I was early in

404
00:18:57,040 --> 00:18:59,320
Speaker 1: my head, that was in my wiring, which was to

405
00:18:59,480 --> 00:19:02,480
Speaker 1: constantly you try to write the sequel to whatever any artist,

406
00:19:02,480 --> 00:19:04,320
Speaker 1: doesn't matter if they're unknown or they've just put up

407
00:19:04,320 --> 00:19:06,760
Speaker 1: their first song or whatever. I'm creating the next movie,

408
00:19:06,800 --> 00:19:08,919
Speaker 1: like where would it go, what's the pivot? What's weekend?

409
00:19:09,040 --> 00:19:13,240
Speaker 1: Bernie's too, you know, And that's what I started doing.

410
00:19:13,520 --> 00:19:16,600
Speaker 1: And the problem was this guy named Kurt Cobain came along,

411
00:19:16,680 --> 00:19:20,880
Speaker 1: this jerk, and he wrote his own songs, and so

412
00:19:20,920 --> 00:19:23,760
Speaker 1: it became super I was twenty and suddenly was super

413
00:19:24,000 --> 00:19:28,520
Speaker 1: inherently uncool to collaborate with an out guy outside of

414
00:19:28,520 --> 00:19:30,160
Speaker 1: the room, you know, previously. You go back to Appetite

415
00:19:30,160 --> 00:19:31,880
Speaker 1: for Destruction for G and R or any of those

416
00:19:31,880 --> 00:19:33,960
Speaker 1: Eagles records, you know, and there's co writers all over

417
00:19:34,000 --> 00:19:37,720
Speaker 1: these things. Carol King wrote it's too late with Tony Stern,

418
00:19:37,920 --> 00:19:40,760
Speaker 1: you know. So there was a place for that person

419
00:19:40,800 --> 00:19:42,320
Speaker 1: to be in the room who sort of is that

420
00:19:42,440 --> 00:19:47,400
Speaker 1: other sort of appendant creatively but isn't part of the group.

421
00:19:47,920 --> 00:19:50,800
Speaker 1: And suddenly it wasn't in vogue anymore. It wasn't cool,

422
00:19:51,040 --> 00:19:54,320
Speaker 1: And so I had to claw my way through the

423
00:19:54,359 --> 00:19:57,240
Speaker 1: city at that time, and I had to eat. So

424
00:19:57,560 --> 00:20:01,760
Speaker 1: I Bobby. I was a rapper and I got a

425
00:20:01,800 --> 00:20:03,720
Speaker 1: record Deals rapper. I don't know if you're kidding, because

426
00:20:03,720 --> 00:20:05,800
Speaker 1: I also had a record Deals rapper. I did. My

427
00:20:05,880 --> 00:20:08,120
Speaker 1: name is Captain Caucasian. What was your name? Um, we're

428
00:20:08,119 --> 00:20:10,840
Speaker 1: gonna find out. Um, this is the This could be

429
00:20:10,840 --> 00:20:13,240
Speaker 1: a Bobby cast trivia question for anyone who writes in

430
00:20:13,720 --> 00:20:17,680
Speaker 1: but nobody writes it. Okay, that's a problem. But I did.

431
00:20:17,800 --> 00:20:20,120
Speaker 1: I did get a record deal with Select Records, which

432
00:20:20,119 --> 00:20:22,119
Speaker 1: is Atlantics hip hop records. So they had at the

433
00:20:22,160 --> 00:20:25,879
Speaker 1: time they had um Kid and play Cha brock utfo

434
00:20:26,080 --> 00:20:28,000
Speaker 1: Kidden player on top of the World, year was this.

435
00:20:28,040 --> 00:20:30,160
Speaker 1: By the way, this is nineteen ninety one. Okay, so

436
00:20:30,320 --> 00:20:31,960
Speaker 1: Beastie Boys have been around for a little bit. Beast

437
00:20:31,960 --> 00:20:33,959
Speaker 1: He's been around. Third Base had come out and they

438
00:20:33,960 --> 00:20:36,360
Speaker 1: were big Goes a Weasel, right, Yeah, that was big

439
00:20:36,400 --> 00:20:39,040
Speaker 1: in the city. And then and then Filling It was

440
00:20:39,040 --> 00:20:41,360
Speaker 1: where I was shopping when Vanilla Vanilla Ice came out

441
00:20:41,359 --> 00:20:43,760
Speaker 1: And it was funny because Vanilla ICE's label tried to

442
00:20:43,800 --> 00:20:46,480
Speaker 1: sign me. They flew me down a Plano, Texas Old

443
00:20:46,480 --> 00:20:50,920
Speaker 1: Tracks Records, and I remember um pivotal moment in my youth.

444
00:20:50,920 --> 00:20:53,280
Speaker 1: I'm probably twenty years old maybe yeah, I just probably

445
00:20:53,320 --> 00:20:55,520
Speaker 1: turned twenty. And it took me into a closet and

446
00:20:55,560 --> 00:20:58,000
Speaker 1: it was all the Vanilla Ice merch, you know what

447
00:20:58,080 --> 00:21:01,679
Speaker 1: I mean, Vanilla's tooth braces, hunchboxes, you know whatever. It

448
00:21:01,720 --> 00:21:05,160
Speaker 1: was like. It was so it was so um dystopian,

449
00:21:05,480 --> 00:21:08,400
Speaker 1: and I remember thinking, I really like I've entered into

450
00:21:08,400 --> 00:21:11,040
Speaker 1: like a universe I could never understand. But I made

451
00:21:11,040 --> 00:21:13,360
Speaker 1: this record, I got signed, I had a video out,

452
00:21:13,440 --> 00:21:15,240
Speaker 1: and then I got dropped within two weeks. You know

453
00:21:15,280 --> 00:21:20,480
Speaker 1: what I mean, what's the record. It's called Notorious Big, Yeah,

454
00:21:20,480 --> 00:21:22,360
Speaker 1: I've heard of it. Then I have heard of it. Yeah,

455
00:21:22,720 --> 00:21:26,440
Speaker 1: you know, but after my failed hip, what was wrong

456
00:21:26,480 --> 00:21:28,919
Speaker 1: with the record? Um? I made it myself. So the

457
00:21:28,960 --> 00:21:31,720
Speaker 1: biggest mistake was I got a record deal and immediately

458
00:21:31,960 --> 00:21:34,000
Speaker 1: Select tried to hook me up with producer so Bob

459
00:21:34,040 --> 00:21:36,320
Speaker 1: Power wand to work with me, and he had done

460
00:21:36,480 --> 00:21:39,560
Speaker 1: he had engineered and um he had engineered and mixed

461
00:21:39,560 --> 00:21:41,800
Speaker 1: all those trip called Quest records. And then they hooked

462
00:21:41,800 --> 00:21:43,480
Speaker 1: me with these guys track masters who would go on

463
00:21:43,520 --> 00:21:46,240
Speaker 1: to do all of the Diddy and Mace stuff and

464
00:21:46,440 --> 00:21:48,760
Speaker 1: getting Jiggy with it and all that nineties big sample

465
00:21:48,800 --> 00:21:51,040
Speaker 1: heavy hip out. These guys all wanted to work with me,

466
00:21:51,359 --> 00:21:53,520
Speaker 1: and I of course turned it all down to make

467
00:21:53,560 --> 00:21:55,760
Speaker 1: my own record because I was very headstrong. I didn't

468
00:21:55,760 --> 00:21:59,040
Speaker 1: want to collaborate with anybody, and I made the worst

469
00:21:59,080 --> 00:22:03,520
Speaker 1: album ever recorded. So I made this terrible recording and

470
00:22:04,119 --> 00:22:06,160
Speaker 1: I lost my record deal. By the time I would

471
00:22:06,200 --> 00:22:08,040
Speaker 1: it came out, it was it was shell for a year.

472
00:22:08,040 --> 00:22:10,560
Speaker 1: They finally like threw it against the wall and then

473
00:22:11,520 --> 00:22:16,119
Speaker 1: Bobby decided to start rapping with a German accent because

474
00:22:16,119 --> 00:22:18,359
Speaker 1: I think that was my next pivot. So I felt

475
00:22:18,359 --> 00:22:21,200
Speaker 1: like I was doing cultural appropriation of I was an

476
00:22:21,200 --> 00:22:24,879
Speaker 1: early cultural appropriator. So I started and cultural appropriation I

477
00:22:24,880 --> 00:22:27,280
Speaker 1: did so. I started rapping with a German accent and

478
00:22:27,359 --> 00:22:30,960
Speaker 1: I did that, Um, why was a good idea? Euro

479
00:22:31,080 --> 00:22:34,000
Speaker 1: dance was beginning explode. Remember the Burman Brothers are different person.

480
00:22:34,800 --> 00:22:37,239
Speaker 1: Yeah so you did so? You did? You had been

481
00:22:37,480 --> 00:22:39,920
Speaker 1: gentleman Parterson, you'd that's a terrible German accent, but it

482
00:22:39,960 --> 00:22:41,760
Speaker 1: d'd be like, oh I am German. Yes, yeah. Yeah.

483
00:22:41,760 --> 00:22:45,240
Speaker 1: So if you ever watch uh, Whoopie Goldberg and Eddie,

484
00:22:45,480 --> 00:22:48,480
Speaker 1: she's coaching the Knicks. She's angry Whoopie yelling at the knicks.

485
00:22:48,560 --> 00:22:51,240
Speaker 1: Um my song plays, She's yelling at a knick and

486
00:22:51,240 --> 00:22:53,119
Speaker 1: it's in the background. You can hear my weird German

487
00:22:53,200 --> 00:22:57,520
Speaker 1: flow in the background, a little pronounced. But um, that

488
00:22:57,560 --> 00:23:01,200
Speaker 1: didn't work. Hang tight the Bobby Cast. We'll be right back.

489
00:23:03,359 --> 00:23:07,119
Speaker 1: Welcome back to the Bobby Cast. Then, um, I started

490
00:23:07,119 --> 00:23:09,400
Speaker 1: making beats, and so that's when I started doing lots

491
00:23:09,440 --> 00:23:11,920
Speaker 1: of programming and making beats. And well, your beats good

492
00:23:11,960 --> 00:23:13,679
Speaker 1: on your record though you talk about you made your

493
00:23:13,680 --> 00:23:16,000
Speaker 1: own records. I did. My beats were terrible. My records.

494
00:23:16,000 --> 00:23:17,520
Speaker 1: So then I you know, back then, I actually worked

495
00:23:17,520 --> 00:23:19,399
Speaker 1: with a programmer on it. But then when I started

496
00:23:19,440 --> 00:23:21,200
Speaker 1: making beats, actually got an sp twelve of them. My

497
00:23:21,240 --> 00:23:23,439
Speaker 1: beats were all right. I could actually I could do it,

498
00:23:23,520 --> 00:23:25,520
Speaker 1: and I sort of had the tricks of the era

499
00:23:25,600 --> 00:23:28,399
Speaker 1: of all that sort of tune hip hop stuff. But

500
00:23:28,480 --> 00:23:30,600
Speaker 1: do you think, though, that that bad record bad? You

501
00:23:30,600 --> 00:23:34,000
Speaker 1: said it, not me though. The failure there, And I

502
00:23:34,000 --> 00:23:37,240
Speaker 1: guess the point that I'm hope being that I'm leading

503
00:23:37,320 --> 00:23:39,800
Speaker 1: us to is that there was a lot of learning

504
00:23:39,800 --> 00:23:41,840
Speaker 1: that happened from that failure. The best thing that ever

505
00:23:41,840 --> 00:23:44,639
Speaker 1: happened to me, right, failure. See, the reason I wrote

506
00:23:44,640 --> 00:23:49,600
Speaker 1: this book is because the failure defined me. You know.

507
00:23:50,080 --> 00:23:52,560
Speaker 1: I read every entertainment bow for the most part. You

508
00:23:52,560 --> 00:23:54,840
Speaker 1: know of my peers, certainly songwriter books, etcetera. And a

509
00:23:54,840 --> 00:23:58,639
Speaker 1: lot of them are humble brags, you know, and I

510
00:23:58,680 --> 00:24:01,679
Speaker 1: understand it. It's part of the game for me. What

511
00:24:01,840 --> 00:24:04,360
Speaker 1: was interesting about my story was the first fifteen years

512
00:24:04,359 --> 00:24:06,320
Speaker 1: of the career, not the second half. The second half's

513
00:24:06,359 --> 00:24:09,119
Speaker 1: been magical, but it's not why I wrote a book.

514
00:24:09,119 --> 00:24:10,800
Speaker 1: I wrote a book because the stuff at the front

515
00:24:10,880 --> 00:24:16,600
Speaker 1: end was so fascinating. Because I made every possible tactical

516
00:24:16,680 --> 00:24:20,800
Speaker 1: and creative error you could ever make, and I always

517
00:24:20,920 --> 00:24:23,199
Speaker 1: learned from the lessons. So I make my first record

518
00:24:23,680 --> 00:24:27,840
Speaker 1: and it's a colossalness. You know, I learned I need

519
00:24:27,880 --> 00:24:30,680
Speaker 1: to be a collaborator. I might not be good enough

520
00:24:30,720 --> 00:24:32,560
Speaker 1: on my own to pull off what I think when

521
00:24:32,560 --> 00:24:34,480
Speaker 1: I'm hearing in my head, I'm not able to execute.

522
00:24:34,760 --> 00:24:37,440
Speaker 1: So then it was like speed dating. Years of speed

523
00:24:37,520 --> 00:24:39,760
Speaker 1: dating collaborators to try to find like the magic fit,

524
00:24:39,960 --> 00:24:42,680
Speaker 1: and so everything was just like this weird learning curve.

525
00:24:42,680 --> 00:24:47,720
Speaker 1: I started doing music for commercials and music for industrials, Garnier,

526
00:24:47,840 --> 00:24:50,920
Speaker 1: Mabel and all the stuff. And basically then I started

527
00:24:50,920 --> 00:24:54,879
Speaker 1: creating my own groups because I figured if I created

528
00:24:54,920 --> 00:24:57,840
Speaker 1: the group, they'd have no choice but to sing my songs.

529
00:24:59,240 --> 00:25:02,880
Speaker 1: Quality theory, let me fuck it on paper. Yeah. So, um,

530
00:25:03,000 --> 00:25:05,560
Speaker 1: the first five albums I made were major I got.

531
00:25:05,640 --> 00:25:08,040
Speaker 1: You know, my manager M Brett was at the time,

532
00:25:08,200 --> 00:25:11,439
Speaker 1: was able to get five major label deals for artists

533
00:25:11,520 --> 00:25:13,320
Speaker 1: over a two year period, which was unheard of. We

534
00:25:13,359 --> 00:25:15,679
Speaker 1: had nothing, We had never done anything. I'd never done anything,

535
00:25:16,200 --> 00:25:20,480
Speaker 1: and um, I had the distinction of the first five

536
00:25:20,520 --> 00:25:24,439
Speaker 1: albums I ever made weren't released, And you go, how

537
00:25:24,480 --> 00:25:27,040
Speaker 1: does it work? Well? Because there's no Internet, no Spotify, nothing.

538
00:25:27,040 --> 00:25:31,240
Speaker 1: This is not you know, so no iTunes. So back

539
00:25:31,240 --> 00:25:33,520
Speaker 1: then it's still physical CDs and as you know, like

540
00:25:33,560 --> 00:25:35,919
Speaker 1: a bunch of records they'd signed thirty x a year

541
00:25:35,960 --> 00:25:38,200
Speaker 1: or whatever, but a couple were tax write offs. Mine

542
00:25:38,240 --> 00:25:40,879
Speaker 1: were always the write off. So the first five albums

543
00:25:40,880 --> 00:25:42,879
Speaker 1: didn't come out. The sixth, finally is the one that

544
00:25:42,920 --> 00:25:45,240
Speaker 1: breaks through. Um. It was a group called Bad Ronald

545
00:25:45,240 --> 00:25:46,720
Speaker 1: that took out an ad in the Village Voice in

546
00:25:46,760 --> 00:25:50,639
Speaker 1: New York cast this thing we went to UM we

547
00:25:50,920 --> 00:25:54,800
Speaker 1: recorded at Henson Um in LA and I had a

548
00:25:54,800 --> 00:25:56,400
Speaker 1: panic attack in the middle of it because I knew

549
00:25:56,400 --> 00:25:59,160
Speaker 1: this was my last shout in this business. And why

550
00:25:59,160 --> 00:26:00,719
Speaker 1: did you think that was all? I shot that well,

551
00:26:00,760 --> 00:26:03,600
Speaker 1: because when you have five albums, it's such a weird

552
00:26:03,680 --> 00:26:05,680
Speaker 1: number to go, well, my six short certainly isn't gonna

553
00:26:05,840 --> 00:26:07,360
Speaker 1: because you know what, the phone just wasn't ringing, got

554
00:26:07,400 --> 00:26:09,240
Speaker 1: you know what I mean, like, no one's taking my calls.

555
00:26:09,720 --> 00:26:12,639
Speaker 1: And I think I was somebody who generally people rooted for.

556
00:26:13,320 --> 00:26:15,640
Speaker 1: But you know, man, it's like at some point you're

557
00:26:15,640 --> 00:26:17,520
Speaker 1: like a you know you're a draft pick. At some

558
00:26:17,600 --> 00:26:20,120
Speaker 1: point you know you're gonna get cut. Your stock isn't there,

559
00:26:20,320 --> 00:26:23,040
Speaker 1: and that's where I was at, and so I m

560
00:26:23,359 --> 00:26:25,080
Speaker 1: I was just at the very bottom of this thing.

561
00:26:25,200 --> 00:26:29,119
Speaker 1: And we make this album and the floodgates open, and

562
00:26:29,160 --> 00:26:31,359
Speaker 1: I have a song on MTV right and it's the

563
00:26:31,400 --> 00:26:34,399
Speaker 1: first song ever, bad Ronald, Let's begin song on MTV,

564
00:26:34,520 --> 00:26:37,680
Speaker 1: most magical feeling in the world, crying, first song, first

565
00:26:37,680 --> 00:26:40,000
Speaker 1: song ever literally in a video, because up to that

566
00:26:40,080 --> 00:26:43,080
Speaker 1: the only TV usage I had was background music in

567
00:26:43,240 --> 00:26:50,199
Speaker 1: a real world Seattle, That's true. And so if you

568
00:26:50,240 --> 00:26:52,439
Speaker 1: have this thing and on the night of the record releases,

569
00:26:52,480 --> 00:26:56,400
Speaker 1: you remember, you know, record store releases were Tuesdays, so

570
00:26:56,600 --> 00:26:59,400
Speaker 1: the Monday night before it, most record stores stay open

571
00:26:59,440 --> 00:27:01,320
Speaker 1: to midnight, and you'd have record release Monday nights, you

572
00:27:01,320 --> 00:27:02,879
Speaker 1: know what I mean. And so all throughout the city,

573
00:27:02,920 --> 00:27:04,760
Speaker 1: like whatever. You were a fan of a New York city,

574
00:27:04,960 --> 00:27:07,280
Speaker 1: those people will congregate for the record release of that record.

575
00:27:07,320 --> 00:27:09,560
Speaker 1: You need to go to the record stourace. So our

576
00:27:09,600 --> 00:27:13,000
Speaker 1: record was this It was the easy Rider helmet from

577
00:27:13,000 --> 00:27:16,879
Speaker 1: the movie American Flag, and it was displayed at fourteenth

578
00:27:16,920 --> 00:27:18,880
Speaker 1: and Broadway in the Virgin Mega store and we had

579
00:27:18,880 --> 00:27:21,920
Speaker 1: the flat on the corner of Broadway sky High. It

580
00:27:22,000 --> 00:27:23,720
Speaker 1: was the coolest thing I've ever seen, right, So we

581
00:27:23,760 --> 00:27:26,480
Speaker 1: went to take pictures there directly before. It was the

582
00:27:26,480 --> 00:27:30,479
Speaker 1: most magical feeling. I was so excited, and we were

583
00:27:30,480 --> 00:27:33,360
Speaker 1: there at midnight and I went to bed next morning.

584
00:27:33,359 --> 00:27:35,440
Speaker 1: We woke up of September eleventh, two thousand and one,

585
00:27:36,240 --> 00:27:38,679
Speaker 1: and as I ran down the street, I watched the

586
00:27:38,680 --> 00:27:40,919
Speaker 1: towers fall from Washington Square Park around the corner. And

587
00:27:40,920 --> 00:27:42,840
Speaker 1: then when I ran uptown and all these people are

588
00:27:42,880 --> 00:27:45,920
Speaker 1: running towards me covered in soot, and all these people

589
00:27:45,960 --> 00:27:48,440
Speaker 1: are screaming looking for family members that are all congregating

590
00:27:48,440 --> 00:27:52,040
Speaker 1: in Union Square. So the press trucks are there and

591
00:27:52,440 --> 00:27:55,240
Speaker 1: the press start photographing, and the city, you know, all

592
00:27:55,240 --> 00:27:58,320
Speaker 1: the news trucks are photographing our album cover with people

593
00:27:58,400 --> 00:28:02,720
Speaker 1: covered in white dust past the American flag. So um,

594
00:28:03,200 --> 00:28:08,160
Speaker 1: it was the most harrowing, just awful day obviously my life.

595
00:28:08,160 --> 00:28:09,640
Speaker 1: And you know, I never went back to that store

596
00:28:09,680 --> 00:28:11,240
Speaker 1: for two and a half years, and I didn't fly

597
00:28:11,400 --> 00:28:14,280
Speaker 1: for two years. And Bad Ronald were dropped within three

598
00:28:14,320 --> 00:28:18,080
Speaker 1: weeks because their record was just like loud, abrasive, sort

599
00:28:18,119 --> 00:28:20,919
Speaker 1: of raunchy hip hop and with rock hip hop, you know,

600
00:28:21,440 --> 00:28:24,320
Speaker 1: and that wasn't what people wanted on September twelfth, they

601
00:28:24,320 --> 00:28:27,560
Speaker 1: wanted Norah Jones, you know, so that was the end

602
00:28:27,560 --> 00:28:31,560
Speaker 1: for me. So I had the phone stop ringing, and

603
00:28:32,119 --> 00:28:34,560
Speaker 1: I had to take a side hustle. So I started

604
00:28:34,600 --> 00:28:41,840
Speaker 1: making beats on kids pop records. That's not I'm serious,

605
00:28:42,120 --> 00:28:44,720
Speaker 1: and that's why I'm pausing here. Serious. So when you

606
00:28:44,760 --> 00:28:46,840
Speaker 1: say making beats, so you're how about this, I wasn't

607
00:28:46,880 --> 00:28:50,160
Speaker 1: even producing. I was the drum programmer. So you're making

608
00:28:50,320 --> 00:28:54,880
Speaker 1: as close to as possible, like the real version, but

609
00:28:55,000 --> 00:29:02,000
Speaker 1: a little softer version of the songs that family friendly. Yeah,

610
00:29:02,080 --> 00:29:04,920
Speaker 1: how do you get that job? Gary Phillips was a

611
00:29:04,960 --> 00:29:07,560
Speaker 1: guitar player I'd used. He had done session work. He

612
00:29:07,600 --> 00:29:10,320
Speaker 1: actually did the entire Bad Ronald record. He was amazing.

613
00:29:10,320 --> 00:29:13,080
Speaker 1: He had produced a singer Songwriana Michael Tolture, a record

614
00:29:13,120 --> 00:29:16,800
Speaker 1: that had done that didn't really happen, and he'd become

615
00:29:16,800 --> 00:29:21,760
Speaker 1: my session guy, and he got the gig as the

616
00:29:21,800 --> 00:29:24,360
Speaker 1: main producer for kids while he still is. And he

617
00:29:24,440 --> 00:29:26,320
Speaker 1: knew that I was having a hard time, and he

618
00:29:26,400 --> 00:29:28,120
Speaker 1: knew that my phone had stopped ringing and I wasn't

619
00:29:28,120 --> 00:29:30,920
Speaker 1: gonna quit. So he gave me, like he started throwing

620
00:29:30,920 --> 00:29:33,040
Speaker 1: me a little big. He's like, hey, do the Beyonce

621
00:29:33,240 --> 00:29:36,120
Speaker 1: crazy and love kids, Bob, And as I always say,

622
00:29:36,160 --> 00:29:38,360
Speaker 1: that's my hot beat on that man. So in casey

623
00:29:38,440 --> 00:29:40,560
Speaker 1: tonight want to do the forbidden Mamba to that thing,

624
00:29:40,600 --> 00:29:43,640
Speaker 1: I got you, it's my beat. So when did you

625
00:29:43,800 --> 00:29:50,200
Speaker 1: start to re establish, even within yourself, who you were. Well,

626
00:29:50,320 --> 00:29:52,040
Speaker 1: I met a guy who changed my life. I met

627
00:29:52,200 --> 00:29:54,320
Speaker 1: a guy named Jonathan Daniel. You know a couple of

628
00:29:54,320 --> 00:29:57,080
Speaker 1: pivotal things. One and one Danny to say is even

629
00:29:57,120 --> 00:30:00,600
Speaker 1: in the midst of all the failure and futility I had.

630
00:30:00,640 --> 00:30:02,920
Speaker 1: The first thing that really changed my life was I

631
00:30:02,960 --> 00:30:06,000
Speaker 1: met Carol King, and Carol King took an interest in me,

632
00:30:06,080 --> 00:30:08,680
Speaker 1: and Karl did just meet. I brought her in on

633
00:30:08,680 --> 00:30:10,720
Speaker 1: one of these records to sing a record that was

634
00:30:10,760 --> 00:30:13,440
Speaker 1: never released, a female ours named Tarsha Viga and Urca,

635
00:30:14,120 --> 00:30:16,960
Speaker 1: and she was like an MC and it was once

636
00:30:17,000 --> 00:30:20,160
Speaker 1: again acoustics like sort of like a vibe acoustic hip

637
00:30:20,200 --> 00:30:23,840
Speaker 1: hop record. And I brought her in and I, you know,

638
00:30:24,240 --> 00:30:26,400
Speaker 1: they wanted arca. I wanted to feature on the record,

639
00:30:26,720 --> 00:30:29,240
Speaker 1: and they were suggesting in there and people of that era,

640
00:30:29,320 --> 00:30:32,400
Speaker 1: you know, sort of neo soul, and I suggested Carol

641
00:30:32,520 --> 00:30:35,920
Speaker 1: King and Brian Maloof was at NR and he had

642
00:30:35,920 --> 00:30:38,960
Speaker 1: a relationship with her camp And two days later she

643
00:30:39,000 --> 00:30:40,360
Speaker 1: came down the studio to hang out with us, and

644
00:30:40,400 --> 00:30:42,280
Speaker 1: she sat across from us and she's looking at Tarsha

645
00:30:42,320 --> 00:30:45,080
Speaker 1: and she said, Tarsha, I love what you do lyrically.

646
00:30:45,360 --> 00:30:47,560
Speaker 1: I think it's great. I love the nuances blah blah,

647
00:30:47,600 --> 00:30:50,400
Speaker 1: and Tarsha God bless her looked at me and said, well,

648
00:30:50,440 --> 00:30:52,959
Speaker 1: he writes it. I don't write the stuff he writes it.

649
00:30:53,440 --> 00:30:57,479
Speaker 1: So next thing, you know, me and Carol and my

650
00:30:57,520 --> 00:31:01,000
Speaker 1: boy Duke, we locked the door for like you know,

651
00:31:01,040 --> 00:31:02,960
Speaker 1: over a year. We probably wrote ten or twelve songs

652
00:31:03,000 --> 00:31:04,920
Speaker 1: I wanted to say, and we just kept it was

653
00:31:04,920 --> 00:31:07,640
Speaker 1: a masterclass. It was like the first person and specifically

654
00:31:07,680 --> 00:31:09,600
Speaker 1: for me, it was the first person who really identified

655
00:31:09,680 --> 00:31:12,280
Speaker 1: something in me beyond the fact that I was mildly amusing,

656
00:31:12,360 --> 00:31:16,640
Speaker 1: you know, and she uh, we did this thing and

657
00:31:16,800 --> 00:31:19,280
Speaker 1: we ended up writing and producing the title track of

658
00:31:19,320 --> 00:31:21,080
Speaker 1: the last album she ever made. It was the single

659
00:31:21,160 --> 00:31:23,560
Speaker 1: the title track. It was a big gap commercial with

660
00:31:23,640 --> 00:31:25,200
Speaker 1: her and her daughter as a song called Love Makes

661
00:31:25,240 --> 00:31:28,520
Speaker 1: the World. And I had a Carol King song, so

662
00:31:28,600 --> 00:31:30,560
Speaker 1: it was weird as I had five unreleased albums had

663
00:31:30,560 --> 00:31:33,920
Speaker 1: a Carol King song and then you know, obviously you

664
00:31:33,920 --> 00:31:36,040
Speaker 1: know my Baha men work right, so you do and

665
00:31:36,080 --> 00:31:38,520
Speaker 1: I'm gonna get to that too. Yeah that was big. Yeah,

666
00:31:38,600 --> 00:31:40,800
Speaker 1: we got we got bahamen to come in a minute

667
00:31:41,160 --> 00:31:43,560
Speaker 1: with the Carol King and you know when that's one

668
00:31:43,560 --> 00:31:46,280
Speaker 1: of the big headlines that you read about you. Yeah, yeah, first,

669
00:31:46,840 --> 00:31:49,440
Speaker 1: you know, Carol King the first big breakthrough. But I

670
00:31:49,480 --> 00:31:52,440
Speaker 1: wonder if the breakthrough was that, as you're writing these songs,

671
00:31:52,520 --> 00:31:54,440
Speaker 1: did she and maybe didn't need it, but did she

672
00:31:54,520 --> 00:31:58,360
Speaker 1: give you a kind of a reintroduction to your confidence? Yeah?

673
00:31:58,400 --> 00:32:01,360
Speaker 1: It's just you know what was like I entered the

674
00:32:01,400 --> 00:32:05,040
Speaker 1: building as the fan first um ilays want to work

675
00:32:05,040 --> 00:32:07,120
Speaker 1: with all the real building cats, you know what I mean.

676
00:32:07,560 --> 00:32:11,680
Speaker 1: So the notion that somebody so esteemed could find something

677
00:32:11,720 --> 00:32:14,320
Speaker 1: in my writing that was a that offset all the

678
00:32:14,360 --> 00:32:15,960
Speaker 1: failure to me because at least I felt like I

679
00:32:15,960 --> 00:32:18,960
Speaker 1: was getting grandmothered into something. So then she told Paul

680
00:32:19,000 --> 00:32:20,880
Speaker 1: Williams about me, and Paul Williams was one of my

681
00:32:20,920 --> 00:32:23,479
Speaker 1: favorite writers ever. I was a massive Paul Bliams fan

682
00:32:23,520 --> 00:32:25,000
Speaker 1: because he was like me. He was a lyricist and

683
00:32:25,040 --> 00:32:27,920
Speaker 1: he was sort of kookie. And so suddenly me and

684
00:32:27,960 --> 00:32:31,960
Speaker 1: Paul and Carol and Duca writing songs together, right, and

685
00:32:32,120 --> 00:32:34,400
Speaker 1: she just she was she was. She was an advocate

686
00:32:34,440 --> 00:32:37,040
Speaker 1: for me, and I desperately needed it, and so that

687
00:32:37,160 --> 00:32:42,360
Speaker 1: gave me some currency in my head. And then but this,

688
00:32:42,480 --> 00:32:45,040
Speaker 1: you know, a guy named Jonathan Daniel m. Change is

689
00:32:45,040 --> 00:32:47,760
Speaker 1: the guy who really changed my career. He was as

690
00:32:47,760 --> 00:32:51,520
Speaker 1: a manager and you know, he's about, you know, eight

691
00:32:51,720 --> 00:32:53,479
Speaker 1: years older than me something like that. He'd been hair

692
00:32:53,520 --> 00:32:55,840
Speaker 1: bands in the eighties at the same the same kind

693
00:32:55,880 --> 00:32:59,680
Speaker 1: of trajectory though, like just dancing around all these scenes

694
00:32:59,680 --> 00:33:01,040
Speaker 1: and then you know, like in the way I was

695
00:33:01,120 --> 00:33:03,440
Speaker 1: dancing around scenes in New York City but never really

696
00:33:03,480 --> 00:33:07,040
Speaker 1: having his own moment, that breakout moment. He was you know,

697
00:33:07,080 --> 00:33:09,320
Speaker 1: his band was called Candy, it was and it was

698
00:33:09,400 --> 00:33:13,040
Speaker 1: Jonathan and Gilby Clark, and then Gilbey Clark joins GNR then,

699
00:33:13,360 --> 00:33:15,880
Speaker 1: you know, and he then became a publisher. He started

700
00:33:16,040 --> 00:33:18,160
Speaker 1: he was running the Cures publishing company in the US,

701
00:33:18,720 --> 00:33:20,520
Speaker 1: that sort of rance course, and he starts a management

702
00:33:20,520 --> 00:33:24,959
Speaker 1: company called Crush Management, and he started reaching out to

703
00:33:25,000 --> 00:33:27,000
Speaker 1: me and he would get advanced copies of all these

704
00:33:27,040 --> 00:33:29,960
Speaker 1: albums I was making that weren't getting released, and he

705
00:33:29,960 --> 00:33:32,080
Speaker 1: would take me out to launch and commit these pep talks,

706
00:33:32,080 --> 00:33:35,560
Speaker 1: and he understood what I was pulling from, right, So

707
00:33:35,600 --> 00:33:37,800
Speaker 1: he'd sit across from me and say, oh, that's really cool.

708
00:33:37,840 --> 00:33:40,400
Speaker 1: You're going for like a bones how Turtles thing on this,

709
00:33:40,920 --> 00:33:43,440
Speaker 1: or you're going for a love and spoonful thing on this.

710
00:33:43,600 --> 00:33:46,720
Speaker 1: So you're going for a Dennis Lambert thing, or you

711
00:33:46,720 --> 00:33:49,080
Speaker 1: know these idols, all these songwriters that idoled like a

712
00:33:49,400 --> 00:33:51,680
Speaker 1: you know, like an idolized like a nerd, you know.

713
00:33:52,400 --> 00:33:55,240
Speaker 1: And he was the only person who understood my references.

714
00:33:55,480 --> 00:33:58,040
Speaker 1: And he said to me, look, he said, you know,

715
00:33:58,080 --> 00:33:59,720
Speaker 1: I'm on the precipice of something, but I have a

716
00:33:59,720 --> 00:34:02,640
Speaker 1: whole way of bands. They're pop punk, and this is

717
00:34:02,720 --> 00:34:07,160
Speaker 1: growing into a scene, and we're gonna need somebody who,

718
00:34:07,480 --> 00:34:09,680
Speaker 1: you know, maybe an adult in the room who understands

719
00:34:09,760 --> 00:34:11,600
Speaker 1: song about a step more with a few of the

720
00:34:11,640 --> 00:34:16,360
Speaker 1: act and they were these little indie records, no budget,

721
00:34:16,440 --> 00:34:19,560
Speaker 1: fueled by Ramen. Records were run out of Jacksonville, you know,

722
00:34:20,080 --> 00:34:23,719
Speaker 1: a dorm at Gainesville, originally with John Janet and I

723
00:34:23,800 --> 00:34:26,799
Speaker 1: signed up and the first record ever made you know,

724
00:34:26,840 --> 00:34:28,719
Speaker 1: so understand now I'm coming out of It ended up

725
00:34:28,719 --> 00:34:32,719
Speaker 1: being seven albums. I made major label albums Real Budgets, right,

726
00:34:32,840 --> 00:34:36,640
Speaker 1: Real Budgets, and first five aren't released. The sixth comes

727
00:34:36,640 --> 00:34:38,600
Speaker 1: out in September eleventh, and the seventh was a group

728
00:34:38,640 --> 00:34:42,200
Speaker 1: called the Cooler Kids that DreamWorks folded in the as

729
00:34:42,239 --> 00:34:44,200
Speaker 1: the record came out, so they were folded in in

730
00:34:44,320 --> 00:34:46,799
Speaker 1: our scope and they were dropped. So I made all

731
00:34:46,800 --> 00:34:49,279
Speaker 1: these major label records for Budgets, and then suddenly here

732
00:34:49,320 --> 00:34:52,520
Speaker 1: I am, and I'm pitched these records for you know,

733
00:34:52,640 --> 00:34:56,800
Speaker 1: twenty five thousand, all in for everything, mixing, mastering, production,

734
00:34:56,880 --> 00:35:00,680
Speaker 1: you know, sample clearances if they use you know, so

735
00:35:00,719 --> 00:35:02,759
Speaker 1: I'm losing money in these things. That first record was

736
00:35:02,800 --> 00:35:05,360
Speaker 1: called The Gym Class Heroes, and I make this record,

737
00:35:05,760 --> 00:35:07,239
Speaker 1: like you said, you know, and I have my first

738
00:35:07,320 --> 00:35:09,560
Speaker 1: number one hit. So I went from having absolutely nothing

739
00:35:09,560 --> 00:35:12,399
Speaker 1: in that thirty five have a number one hit? Does

740
00:35:12,440 --> 00:35:15,120
Speaker 1: it happen like on the movie show where you get

741
00:35:15,160 --> 00:35:16,560
Speaker 1: no calls? And didn't you have a number one hit?

742
00:35:16,560 --> 00:35:17,600
Speaker 1: And then all of a sudden, the phones like I

743
00:35:17,600 --> 00:35:19,799
Speaker 1: don't anybody bringing, anybody wants to work with you? One

744
00:35:19,840 --> 00:35:22,880
Speaker 1: thousand percent? What was interesting about it was one thing

745
00:35:22,960 --> 00:35:25,120
Speaker 1: Jonathan Jonathan Daniel is based on my guru. He's one

746
00:35:25,120 --> 00:35:26,760
Speaker 1: of my best friends, but he's also been my guru

747
00:35:26,840 --> 00:35:29,080
Speaker 1: and I'm with Crush Management now too. But one thing

748
00:35:29,120 --> 00:35:31,440
Speaker 1: he told me early on is he said, you don't

749
00:35:31,520 --> 00:35:33,880
Speaker 1: necessarily need to take all the calls. You need an

750
00:35:33,920 --> 00:35:36,520
Speaker 1: infrastructure about three or four people in this business who

751
00:35:36,560 --> 00:35:38,560
Speaker 1: believe in you, who've always been very loyal to you,

752
00:35:38,920 --> 00:35:40,680
Speaker 1: and as long as they're in the position to make

753
00:35:40,719 --> 00:35:43,520
Speaker 1: some sort of moves that you can just work with

754
00:35:43,560 --> 00:35:45,480
Speaker 1: those people. And that's what I chose to do. So

755
00:35:45,520 --> 00:35:48,080
Speaker 1: there was Steve Greenberg at es Curve. There was James

756
00:35:48,120 --> 00:35:51,480
Speaker 1: Deaner when he was at Doctone, you know, be Interscope.

757
00:35:51,520 --> 00:35:55,080
Speaker 1: There was you know, the Crush guys and Pete Gambarg

758
00:35:55,120 --> 00:35:56,960
Speaker 1: and people like. There were people who just like constantly

759
00:35:56,960 --> 00:35:59,080
Speaker 1: gave me work. So I didn't have to take all

760
00:35:59,120 --> 00:36:01,279
Speaker 1: that incoming. And it's great for my psyche because I

761
00:36:01,280 --> 00:36:04,359
Speaker 1: think it's a massive mistake that writers or producers make

762
00:36:04,360 --> 00:36:07,360
Speaker 1: when they finally enter the zeitgeist, you know, because you

763
00:36:07,400 --> 00:36:08,880
Speaker 1: just get so seduced by it, you're like, oh my god,

764
00:36:08,880 --> 00:36:10,520
Speaker 1: I can't believe I'm getting all these calls blah blah blah,

765
00:36:10,560 --> 00:36:12,440
Speaker 1: but you don't realize that you're fly by night to

766
00:36:12,600 --> 00:36:15,600
Speaker 1: these other people. You know, that's a transient sort of

767
00:36:15,600 --> 00:36:17,560
Speaker 1: relationship with the people who sort of rode with you

768
00:36:17,600 --> 00:36:19,959
Speaker 1: from the beginning will stick with you through the lows.

769
00:36:19,960 --> 00:36:24,440
Speaker 1: Because truthfully, for every sort of solid couple of you know,

770
00:36:25,200 --> 00:36:27,319
Speaker 1: pockets where I'm really killing it, then of course there's

771
00:36:27,320 --> 00:36:29,000
Speaker 1: going to be a fall. It happens. We all just

772
00:36:29,160 --> 00:36:31,480
Speaker 1: roller coaster up and down. We were talking about before

773
00:36:31,480 --> 00:36:33,520
Speaker 1: you got here doing the intro for this which, by

774
00:36:33,520 --> 00:36:35,120
Speaker 1: the way, the book twenty one hit Wonder, which we've

775
00:36:35,120 --> 00:36:40,080
Speaker 1: been talking about, and you write it, and you're you're

776
00:36:40,160 --> 00:36:43,439
Speaker 1: donating the proceeds to every reason I call right, Yeah,

777
00:36:43,480 --> 00:36:46,279
Speaker 1: So every penny from my end from this book, from

778
00:36:46,320 --> 00:36:49,400
Speaker 1: inception goes to musicians on call and all my speaking

779
00:36:49,400 --> 00:36:51,160
Speaker 1: gigs too. So I've been torn around the country on

780
00:36:51,239 --> 00:36:53,960
Speaker 1: my own time. I went to been a thirty university

781
00:36:54,080 --> 00:36:56,640
Speaker 1: so far, five high schools. I'm gonna get up to fifty.

782
00:36:57,080 --> 00:36:59,520
Speaker 1: And I've done you know, everything from a General Modus

783
00:36:59,560 --> 00:37:05,520
Speaker 1: convent in Last Tuesday to you know, Music Business College's convention,

784
00:37:05,600 --> 00:37:09,520
Speaker 1: the Media Convention in Las Vegas on Friday. Every penny

785
00:37:09,760 --> 00:37:13,200
Speaker 1: that I raised goes to musicians on Call and why

786
00:37:13,600 --> 00:37:14,880
Speaker 1: And I said that as someone who was on the

787
00:37:14,920 --> 00:37:16,680
Speaker 1: board for a while, and I know he was very

788
00:37:16,840 --> 00:37:19,439
Speaker 1: you've been involved in it. Well, the long and short

789
00:37:19,440 --> 00:37:22,279
Speaker 1: of it is, I knew the gentleman who started it

790
00:37:22,320 --> 00:37:23,919
Speaker 1: when we were all in our twenties, and I didn't

791
00:37:23,920 --> 00:37:26,799
Speaker 1: really get involved. And then when my dad was in

792
00:37:26,840 --> 00:37:28,840
Speaker 1: his last days, he was at a Mount Sina he

793
00:37:28,880 --> 00:37:31,840
Speaker 1: was in a cancer word of Mount SINAI and I

794
00:37:31,960 --> 00:37:34,160
Speaker 1: just lost my mom and now my dad's really sick,

795
00:37:34,440 --> 00:37:37,120
Speaker 1: and I'm in a pretty dark space. And I walk

796
00:37:37,200 --> 00:37:40,839
Speaker 1: up there and I hear, like I hear a man

797
00:37:40,960 --> 00:37:42,800
Speaker 1: singing in the hallway. He's kind of warming up. And

798
00:37:42,800 --> 00:37:44,919
Speaker 1: I walk out. It's like an eighty year old cat

799
00:37:44,960 --> 00:37:48,319
Speaker 1: with a big, bushy beard and acoustic guitar and he's

800
00:37:48,360 --> 00:37:50,560
Speaker 1: walking into a room to play for an elderly woman

801
00:37:50,680 --> 00:37:53,160
Speaker 1: in the next room. And so I waited till he's completed,

802
00:37:53,160 --> 00:37:54,400
Speaker 1: and I took him aside. I said, like, where do

803
00:37:54,440 --> 00:37:56,320
Speaker 1: you know? Who are you? He said, I'm with musicians

804
00:37:56,320 --> 00:37:59,799
Speaker 1: on call. And literally my face froze because I had,

805
00:38:01,160 --> 00:38:02,799
Speaker 1: you know, I'd always wanted to get involved, and I

806
00:38:02,840 --> 00:38:06,200
Speaker 1: felt like this was this weird, divine sort of religious experience.

807
00:38:06,239 --> 00:38:10,560
Speaker 1: So I immediately signed on joining joined the advisory board.

808
00:38:10,960 --> 00:38:12,719
Speaker 1: And then we have this Christmas group. It's me and

809
00:38:12,800 --> 00:38:15,120
Speaker 1: Kevin Griffin, Mark McGrath. It's a bunch of us, Lisa

810
00:38:15,160 --> 00:38:17,600
Speaker 1: Loebe and we just thing called Band of Merrymakers. And

811
00:38:17,680 --> 00:38:19,799
Speaker 1: so we gave proceeds to it, and we started playing

812
00:38:19,800 --> 00:38:21,840
Speaker 1: in the hospitals and like doing the workshops, and I

813
00:38:21,880 --> 00:38:23,719
Speaker 1: was doing writing clinics like with kids who were in

814
00:38:23,800 --> 00:38:27,920
Speaker 1: really tough shape, and it um is the most valuable

815
00:38:27,920 --> 00:38:30,120
Speaker 1: work I've ever done. I figured, you know, there's a

816
00:38:30,160 --> 00:38:33,040
Speaker 1: lot of charities that get a ton of shine and

817
00:38:33,120 --> 00:38:35,400
Speaker 1: have more financial resources, and I felt, well, if I

818
00:38:35,440 --> 00:38:37,840
Speaker 1: could do anything to help, it was probably it was

819
00:38:37,840 --> 00:38:43,760
Speaker 1: worth it. The Bobby Cast. We'll be right back. This

820
00:38:44,080 --> 00:38:47,600
Speaker 1: is the Bobby Cast. When you speak at any other things,

821
00:38:47,600 --> 00:38:53,640
Speaker 1: you said, a college, a convention, bunch executives, what's your

822
00:38:53,719 --> 00:38:56,160
Speaker 1: one story that you know is going to light the

823
00:38:56,239 --> 00:38:57,960
Speaker 1: room of people are gonna love it. They're going to

824
00:38:58,040 --> 00:39:00,800
Speaker 1: be entertained. You may twist and turn on him a

825
00:39:00,840 --> 00:39:03,759
Speaker 1: little bit, but you know that's your money story. Oh man,

826
00:39:04,200 --> 00:39:07,960
Speaker 1: I'll be The truth is I'm walking money, So I

827
00:39:08,000 --> 00:39:10,239
Speaker 1: know that's why I'm asking you, like, what's your what's

828
00:39:10,239 --> 00:39:12,400
Speaker 1: your antidote that you're like, this is the one I

829
00:39:12,480 --> 00:39:14,200
Speaker 1: want to be known, not not what song did you

830
00:39:14,239 --> 00:39:16,319
Speaker 1: write or produce? But what's your one antidote that you

831
00:39:16,360 --> 00:39:18,440
Speaker 1: want to be known for? All right? You're ready? Yeah,

832
00:39:18,480 --> 00:39:22,160
Speaker 1: all right? So, um, I really think the one direction

833
00:39:22,200 --> 00:39:27,240
Speaker 1: one lands a lot because kids like Harry styles so um,

834
00:39:27,360 --> 00:39:31,120
Speaker 1: very quickly, I'm sitting at coffee shop in La. It's raining,

835
00:39:31,440 --> 00:39:34,239
Speaker 1: and um, you know, everybody in La is scared of rain,

836
00:39:34,400 --> 00:39:36,439
Speaker 1: so they're all on top of each other, and there's

837
00:39:36,760 --> 00:39:38,960
Speaker 1: there's a meeting going on behind me, and it's a

838
00:39:39,000 --> 00:39:43,120
Speaker 1: publisher pitching a writer and I recognize that's beca tishker

839
00:39:43,239 --> 00:39:46,160
Speaker 1: is a huge manager and publisher. And she's she's pitching

840
00:39:46,160 --> 00:39:48,080
Speaker 1: the Swedish guy and he's got very thick cent, very

841
00:39:48,080 --> 00:39:50,440
Speaker 1: thick coccent, you know, and she's like, you know, so

842
00:39:50,480 --> 00:39:52,480
Speaker 1: you're not doing your band anymore, blah blah blah. You

843
00:39:52,520 --> 00:39:54,040
Speaker 1: know you're starting to write now, you're doing you're writing

844
00:39:54,080 --> 00:39:56,160
Speaker 1: now blah blaha. Yes, I'm beginning to write them blah

845
00:39:56,160 --> 00:39:58,600
Speaker 1: blah blah. For some reason, I turn around and I

846
00:39:58,600 --> 00:40:00,919
Speaker 1: look at the sexy fella and I realized that it's

847
00:40:01,120 --> 00:40:04,920
Speaker 1: Peter Spence and the guitarist and the Cardigans. And the

848
00:40:04,960 --> 00:40:07,680
Speaker 1: Cardigans for me were mine er van, you know, really,

849
00:40:07,880 --> 00:40:09,920
Speaker 1: Cardigans were my favorite band of the night. Love me,

850
00:40:10,040 --> 00:40:12,480
Speaker 1: love me, say that should love me. For those that

851
00:40:12,560 --> 00:40:13,960
Speaker 1: want to hear it perfectly, sing back, well the way,

852
00:40:13,960 --> 00:40:18,120
Speaker 1: it's perfect, thank you yeah um, and so that I'm

853
00:40:18,320 --> 00:40:21,760
Speaker 1: literally fanboy and this guy. I interrupt their conversation because

854
00:40:21,840 --> 00:40:25,759
Speaker 1: I have no filter, and we kick it and she's like,

855
00:40:25,760 --> 00:40:27,080
Speaker 1: oh my god, you guys should write together. It be

856
00:40:27,120 --> 00:40:28,839
Speaker 1: such a great fit. And you know, I'm gonna bring

857
00:40:29,120 --> 00:40:31,399
Speaker 1: I'll add my writer ko Jack, who's a track guy.

858
00:40:31,440 --> 00:40:33,359
Speaker 1: Cool ko Jack, and the three you guys should write,

859
00:40:33,360 --> 00:40:35,480
Speaker 1: I said, great. So we show up and secretly I'm

860
00:40:35,480 --> 00:40:37,360
Speaker 1: thinking we're gonna write a Cardigans song. And this is

861
00:40:37,400 --> 00:40:40,160
Speaker 1: like my my, my wish fulfilment, you know. And I

862
00:40:40,280 --> 00:40:42,960
Speaker 1: show up at the studio and these guys are these

863
00:40:42,960 --> 00:40:45,120
Speaker 1: guys are real pop guys. I'm not a real pop guy.

864
00:40:45,160 --> 00:40:47,120
Speaker 1: I'm quirky. I'm more of a rock guy who sort

865
00:40:47,160 --> 00:40:50,920
Speaker 1: of just has pop leanings, you know, And I show up.

866
00:40:51,320 --> 00:40:53,600
Speaker 1: These guys are like, I'm like, so, let's dig in.

867
00:40:53,680 --> 00:40:56,600
Speaker 1: Let's do something really vibeing cardigans and Feter's like, no,

868
00:40:56,640 --> 00:41:01,120
Speaker 1: I don't. I'm not doing cardigans anymore. So wow, So

869
00:41:01,239 --> 00:41:02,879
Speaker 1: we we we said what should we do? We said,

870
00:41:02,960 --> 00:41:05,040
Speaker 1: let's write a song for one direction. Let's try that.

871
00:41:05,280 --> 00:41:07,239
Speaker 1: And I didn't know what that meant, you know, I mean,

872
00:41:07,280 --> 00:41:08,799
Speaker 1: I knew what makes you beautiful? That that was the

873
00:41:08,800 --> 00:41:10,840
Speaker 1: extent of my knowledge. I thought it was an incredible single,

874
00:41:10,880 --> 00:41:14,920
Speaker 1: but this wasn't my forte. So I went outside and Bobby,

875
00:41:14,960 --> 00:41:18,240
Speaker 1: I got high, like I do in these situations, smoked

876
00:41:18,239 --> 00:41:22,880
Speaker 1: the reefer, and uh. I went outside and I just

877
00:41:22,880 --> 00:41:24,920
Speaker 1: started writing these words. I write these words, and I

878
00:41:25,000 --> 00:41:26,840
Speaker 1: write an entire lyric and I'm bring it inside. These

879
00:41:26,840 --> 00:41:28,520
Speaker 1: guys have no idea what it's gonna land, you know.

880
00:41:29,080 --> 00:41:31,600
Speaker 1: And fifteen minutes I'm quick, you know, and I'm bringing

881
00:41:31,680 --> 00:41:33,840
Speaker 1: in and the guy started singing, and he's got the

882
00:41:33,840 --> 00:41:36,800
Speaker 1: Swedish accent, you know, very thick. He's like, duh, you

883
00:41:37,080 --> 00:41:40,560
Speaker 1: remember somewhere all nine. I want to go back there

884
00:41:40,800 --> 00:41:43,080
Speaker 1: every night. And when he's singing, I'm thinking, man, this

885
00:41:43,239 --> 00:41:46,839
Speaker 1: is this is like, this is like a Fellini movie. Man,

886
00:41:46,960 --> 00:41:49,759
Speaker 1: this is not gonna this is not gonna stick, you know.

887
00:41:49,920 --> 00:41:52,960
Speaker 1: And uh, we finished this thing, finished the song, and

888
00:41:53,280 --> 00:41:55,279
Speaker 1: I thought a zero percent chance of landing. But I

889
00:41:55,320 --> 00:41:57,080
Speaker 1: was high and we you know, eat Thai food and

890
00:41:57,120 --> 00:41:59,719
Speaker 1: they were nice guys, had a beer, and then I

891
00:41:59,760 --> 00:42:02,200
Speaker 1: went home. The next day, they like, we're getting texts

892
00:42:02,239 --> 00:42:05,560
Speaker 1: from Simon Cowell and getting texts from Max Martin and

893
00:42:05,640 --> 00:42:09,520
Speaker 1: Doctor Luke and everyone's like rock me Equal Smash. So

894
00:42:09,640 --> 00:42:11,239
Speaker 1: secretly I'm like, oh my god, what have I been

895
00:42:11,239 --> 00:42:13,000
Speaker 1: doing my life? Man? Because I've spent my life now

896
00:42:13,040 --> 00:42:16,040
Speaker 1: at this point, I've worked with, you know, everyone from

897
00:42:16,280 --> 00:42:18,239
Speaker 1: you know, I would say, like Train and dawtry to

898
00:42:18,560 --> 00:42:22,680
Speaker 1: you know, Carol, you know, Tom Jones, to a million

899
00:42:22,960 --> 00:42:25,600
Speaker 1: fun bands with funny t shirts and funny haircuts, and

900
00:42:25,719 --> 00:42:27,399
Speaker 1: thinking myself, why do I have to work with these

901
00:42:27,440 --> 00:42:29,759
Speaker 1: like soul sucking artists when I could just literally get

902
00:42:29,840 --> 00:42:32,600
Speaker 1: high and write like these little gibberish words and it lands,

903
00:42:32,680 --> 00:42:35,080
Speaker 1: you know, So immediately the three of us become like

904
00:42:35,080 --> 00:42:39,239
Speaker 1: a reading writing configuration. Right, It's me Co, Jack and Peter,

905
00:42:39,360 --> 00:42:41,680
Speaker 1: and we're gonna We're gonna be the next writing team,

906
00:42:41,800 --> 00:42:43,879
Speaker 1: you know, in La, and I've just moved La. Dudes,

907
00:42:43,920 --> 00:42:46,120
Speaker 1: I'm new to all of this. You know. I'm from

908
00:42:46,120 --> 00:42:48,120
Speaker 1: a very different thing in New York. And suddenly it's

909
00:42:48,120 --> 00:42:50,359
Speaker 1: like teams in middle but you know, and I'll start

910
00:42:50,400 --> 00:42:54,600
Speaker 1: digging in and we write for thirty days straight. We

911
00:42:54,640 --> 00:42:58,080
Speaker 1: write the thirty worst songs ever written. And the crazy

912
00:42:58,080 --> 00:43:00,520
Speaker 1: thing is, I'm the problem, not those guys. Those guys

913
00:43:00,520 --> 00:43:03,040
Speaker 1: are really good, but they're dialed in. They're like, let's

914
00:43:03,040 --> 00:43:05,120
Speaker 1: do Selena Gomez today. I don't know what that is,

915
00:43:05,400 --> 00:43:07,080
Speaker 1: you know what I mean. So I'm sitting there and going, oh,

916
00:43:07,080 --> 00:43:09,440
Speaker 1: cool man, I'm gonna write like a Smith song, you know.

917
00:43:09,760 --> 00:43:12,440
Speaker 1: So I'm writing some Morrissey stuff. And they're like, wait, wait, wait, no,

918
00:43:12,480 --> 00:43:14,560
Speaker 1: this isn't landing. It makes no sense. It's not logical.

919
00:43:14,600 --> 00:43:16,880
Speaker 1: I'm like, but it is. It's deep, you know. So

920
00:43:16,880 --> 00:43:18,919
Speaker 1: you can see the novelties wearing off. I'm flying back

921
00:43:18,920 --> 00:43:21,480
Speaker 1: to Boston, right and I'm on a plane to Boston

922
00:43:21,800 --> 00:43:24,959
Speaker 1: from LA and you know, Peter sends me a voice

923
00:43:24,960 --> 00:43:28,040
Speaker 1: note and now he's cutting my verbal lungs because it's

924
00:43:28,080 --> 00:43:30,400
Speaker 1: now he's giving me a lyric and it says, you

925
00:43:30,480 --> 00:43:34,080
Speaker 1: must sing I got the got the goal I got

926
00:43:34,080 --> 00:43:37,719
Speaker 1: the gotta gotta and he's like, all these gottas right,

927
00:43:37,760 --> 00:43:40,239
Speaker 1: And I'm on the plane and I'm literally sitting in

928
00:43:40,239 --> 00:43:43,400
Speaker 1: this seat and I'm gonna sweat. I'm so angry. I'm like,

929
00:43:43,400 --> 00:43:45,759
Speaker 1: why is he making me sing gottas? I don't want

930
00:43:45,760 --> 00:43:47,880
Speaker 1: to sing gattas. I want my own words on this melody.

931
00:43:48,120 --> 00:43:49,719
Speaker 1: And so I text him in the plane. He's like, no,

932
00:43:49,800 --> 00:43:52,600
Speaker 1: it has to be gotta you, gotta gotta you kept

933
00:43:52,640 --> 00:43:55,360
Speaker 1: saying that back and forth. The weirdest exchange, one of

934
00:43:55,400 --> 00:43:56,960
Speaker 1: the things where like, how are we adults? And this

935
00:43:57,000 --> 00:43:59,560
Speaker 1: is what we get paid for, you know? And I

936
00:43:59,640 --> 00:44:02,160
Speaker 1: finally at the last text backfarth A, Yeah, I just

937
00:44:02,160 --> 00:44:04,279
Speaker 1: don't feel this man. Those guys never worked with me

938
00:44:04,320 --> 00:44:07,200
Speaker 1: ever again. Okay, now here's the only problem. Driving my

939
00:44:07,280 --> 00:44:10,480
Speaker 1: kid to school a year later, and I'm listening to

940
00:44:10,560 --> 00:44:13,520
Speaker 1: kiss in La and Ariana grounds love me Harder, comes

941
00:44:13,560 --> 00:44:16,600
Speaker 1: on you gotta gotta love me harder, and I heard

942
00:44:16,600 --> 00:44:18,600
Speaker 1: the gottas and I hadn't heard gotta in a chorus

943
00:44:18,680 --> 00:44:21,200
Speaker 1: like this repeated, and I just turned to my daughter.

944
00:44:21,280 --> 00:44:23,680
Speaker 1: She's like six or seven. It makes by seven or eight,

945
00:44:23,680 --> 00:44:26,319
Speaker 1: And I was like, can you just type something into

946
00:44:26,360 --> 00:44:30,760
Speaker 1: my phone, just type writer Ariana gron love me Harder,

947
00:44:31,000 --> 00:44:34,640
Speaker 1: Peter's funds And so you know, I've played that one wrong,

948
00:44:34,719 --> 00:44:38,200
Speaker 1: but that was my only fay in the one direction

949
00:44:38,239 --> 00:44:41,000
Speaker 1: and straight a hip hop stuff, and obviously it's probably

950
00:44:41,040 --> 00:44:42,680
Speaker 1: not what I do best. You know a song I

951
00:44:42,719 --> 00:44:45,480
Speaker 1: love as playing it on my radio show just a

952
00:44:45,480 --> 00:44:47,799
Speaker 1: couple weeks ago. It's a new Weezer song Records. That's

953
00:44:47,840 --> 00:44:53,200
Speaker 1: a fun duty And again it's so now that I've

954
00:44:53,440 --> 00:44:56,640
Speaker 1: spoken with you and kind of hear the macro version

955
00:44:56,640 --> 00:44:59,080
Speaker 1: of what you're about. Even that song starts with what

956
00:44:59,120 --> 00:45:02,160
Speaker 1: that song is us. And when you talk about how

957
00:45:02,239 --> 00:45:05,640
Speaker 1: you perceive music and you want to get to what

958
00:45:05,760 --> 00:45:10,600
Speaker 1: to get too fast? I think old songs like Sweet Emotion.

959
00:45:10,680 --> 00:45:13,080
Speaker 1: It starts right Aaron Smith. Sweet Emotion starts with a chorus.

960
00:45:13,360 --> 00:45:15,560
Speaker 1: That's it. It comes back to that. But that's that's

961
00:45:15,600 --> 00:45:18,560
Speaker 1: the heat of the song. When record starts, it's so

962
00:45:18,600 --> 00:45:21,360
Speaker 1: hood you go for the jogular right at it. You know.

963
00:45:21,440 --> 00:45:24,880
Speaker 1: The thing about records is um I started writing that

964
00:45:24,920 --> 00:45:27,279
Speaker 1: with Rivers during the pandemic on the front end in

965
00:45:27,320 --> 00:45:29,319
Speaker 1: like late twenty or something like that. I was I

966
00:45:29,360 --> 00:45:31,400
Speaker 1: was in cape cod and I pulled out an acoustic

967
00:45:31,400 --> 00:45:33,319
Speaker 1: and I was singing this idea and I kept singing.

968
00:45:33,440 --> 00:45:36,920
Speaker 1: I got records in my head of I felt like

969
00:45:36,920 --> 00:45:40,480
Speaker 1: it could land, you know, and I got on zoom

970
00:45:40,480 --> 00:45:42,040
Speaker 1: with them and we kept kicking it back and forth.

971
00:45:42,080 --> 00:45:43,440
Speaker 1: We kicked it back and forth about a year, a

972
00:45:43,480 --> 00:45:47,480
Speaker 1: year and a half, and it was amazing because I

973
00:45:47,520 --> 00:45:50,600
Speaker 1: really we kept debating. There was an internal debate. I

974
00:45:50,600 --> 00:45:54,120
Speaker 1: think about front loading the hook to that extent, but

975
00:45:54,440 --> 00:45:56,520
Speaker 1: that's why it works to me, like it's and the

976
00:45:56,640 --> 00:46:00,320
Speaker 1: second hook just sonicla, a littlefficults, a little you know,

977
00:46:00,719 --> 00:46:03,760
Speaker 1: I got work, and then the second comes around because

978
00:46:03,760 --> 00:46:05,799
Speaker 1: he pops the octave. Yeah, that's my trip, you know,

979
00:46:05,800 --> 00:46:08,080
Speaker 1: like man in my writing, it doesn't matter if it

980
00:46:08,160 --> 00:46:10,040
Speaker 1: was you know, when we were doing the Boys like

981
00:46:10,080 --> 00:46:12,040
Speaker 1: Girls are We the Kings or Metros any of those things.

982
00:46:12,040 --> 00:46:14,120
Speaker 1: Like the one thing I love is when a chorus

983
00:46:14,200 --> 00:46:16,960
Speaker 1: just explodes. I like melodies they're kind of static down

984
00:46:17,320 --> 00:46:19,160
Speaker 1: sitting in a little box because that comes from the

985
00:46:19,200 --> 00:46:21,440
Speaker 1: hip hop stuff, right, So I love melodies that are

986
00:46:21,480 --> 00:46:24,239
Speaker 1: somewhat linear, and then that gives you room to just

987
00:46:24,280 --> 00:46:27,320
Speaker 1: have like this big caboo sort of octave jumping records.

988
00:46:27,320 --> 00:46:29,520
Speaker 1: Does it right? Like that first chorus, you know if

989
00:46:29,520 --> 00:46:31,680
Speaker 1: you like, oh, it's sort of restrained rivers, and then

990
00:46:31,680 --> 00:46:34,560
Speaker 1: when he hits the top note, you're like, Wow, I

991
00:46:34,640 --> 00:46:38,000
Speaker 1: love Weezer. I wear I was visually impaired. My rideye

992
00:46:38,000 --> 00:46:39,560
Speaker 1: doesn't work, and I was like, man, there's nobody cool

993
00:46:39,560 --> 00:46:43,680
Speaker 1: that wears glasses. Right. Rivers hugellibration to me because I

994
00:46:43,760 --> 00:46:46,840
Speaker 1: was like, Oh, he's nerdy but awesome. He's so awesome,

995
00:46:46,920 --> 00:46:49,239
Speaker 1: He's not nerdy, and I want to be that guy,

996
00:46:49,360 --> 00:46:52,879
Speaker 1: the coolest. And so here's my quick Weezer story. Yeah,

997
00:46:53,160 --> 00:46:55,560
Speaker 1: I worked on American Idol for four years as the

998
00:46:55,640 --> 00:46:59,000
Speaker 1: head head mentor. I'd work with the kids, some young

999
00:46:59,040 --> 00:47:02,640
Speaker 1: adults on everything from song selection to how to sing

1000
00:47:02,680 --> 00:47:05,319
Speaker 1: it tempo, being interviewed. They just had me there as

1001
00:47:05,360 --> 00:47:10,680
Speaker 1: the Swiss army knife. And at the end of every season,

1002
00:47:11,200 --> 00:47:13,440
Speaker 1: everybody would come in, all the big stars for it

1003
00:47:13,520 --> 00:47:16,840
Speaker 1: for duets, right, and this partist would be with this person,

1004
00:47:16,960 --> 00:47:19,479
Speaker 1: and Weezer was coming in. Now I had never met

1005
00:47:19,960 --> 00:47:23,080
Speaker 1: anyone from Weezer, and I was freaking pumped. I'm jaded,

1006
00:47:23,640 --> 00:47:26,120
Speaker 1: not in a way of I don't care, but I've

1007
00:47:26,200 --> 00:47:28,200
Speaker 1: seen everybody. I know that most people that I think

1008
00:47:28,200 --> 00:47:30,160
Speaker 1: are awesome in music, sometimes they're not. Sometimes they are,

1009
00:47:30,160 --> 00:47:34,120
Speaker 1: but they're just normal folk. Sometimes abnormal, but not in

1010
00:47:34,160 --> 00:47:37,359
Speaker 1: the way you prefer. Absolutely, But as Weezer, right, there's

1011
00:47:37,360 --> 00:47:39,680
Speaker 1: like three or four my whole life that I'm like,

1012
00:47:40,280 --> 00:47:43,799
Speaker 1: I would totally fan boy out. And Weezer's playing the

1013
00:47:43,800 --> 00:47:46,080
Speaker 1: finale of American Idol. So I'll let my producer know.

1014
00:47:46,840 --> 00:47:48,359
Speaker 1: I say, Hey, I'm just letting you know I'm a

1015
00:47:48,400 --> 00:47:51,120
Speaker 1: massive Weezer fan. In the whole season. People have been

1016
00:47:51,160 --> 00:47:53,839
Speaker 1: in and out, but I'm not gonna go in, like, hey,

1017
00:47:53,920 --> 00:47:56,640
Speaker 1: would you sign this like a picture? I said, Weezer's coming,

1018
00:47:56,960 --> 00:47:58,360
Speaker 1: and if it's cool, I'd like to walk out and

1019
00:47:58,400 --> 00:48:00,919
Speaker 1: just say hello. And they're like, yeah, of course. I thought,

1020
00:48:01,080 --> 00:48:03,040
Speaker 1: like at your show too, there's five. There's five of

1021
00:48:03,080 --> 00:48:06,360
Speaker 1: you on this show is Luke, Lionel, Katie Ryan, and myself,

1022
00:48:07,040 --> 00:48:08,799
Speaker 1: and so we kind of had free rein over everything,

1023
00:48:08,800 --> 00:48:10,200
Speaker 1: and I said, I'm gonna walk out to the bus

1024
00:48:10,239 --> 00:48:13,000
Speaker 1: if that's cool. They're like yeah, sure. So they come

1025
00:48:13,040 --> 00:48:14,560
Speaker 1: in and I go to the record store down by

1026
00:48:14,800 --> 00:48:17,839
Speaker 1: where the lot was and I get the blue vinyl Yes,

1027
00:48:18,280 --> 00:48:21,080
Speaker 1: because that blue album for me was it was near

1028
00:48:21,120 --> 00:48:23,080
Speaker 1: ami but right, it was right, Yeah, I mean it

1029
00:48:23,120 --> 00:48:25,480
Speaker 1: was what I was. I'm a blue guy more than

1030
00:48:25,520 --> 00:48:28,160
Speaker 1: picker and guy myself. It took me later in life

1031
00:48:28,840 --> 00:48:33,759
Speaker 1: understand and appreciated so but Blue loved it immediately. I

1032
00:48:33,840 --> 00:48:36,240
Speaker 1: go get it big, Vinyl, I walk up. I'm nervous.

1033
00:48:36,360 --> 00:48:42,280
Speaker 1: I'm an adult man, I'm nervous. Like yeah, I say, hey, guys,

1034
00:48:42,920 --> 00:48:45,439
Speaker 1: mine's Bobby. I'll be working with you guys later tonight.

1035
00:48:45,480 --> 00:48:47,520
Speaker 1: I'm the head mentor here and reckon, I don't I'm

1036
00:48:47,560 --> 00:48:49,399
Speaker 1: not even gonna fake it. I'm just a massive fan.

1037
00:48:49,560 --> 00:48:51,960
Speaker 1: Do you care if would you guys sign this? And like, yeah,

1038
00:48:52,239 --> 00:48:54,280
Speaker 1: come on in, And so I don't. I don't see

1039
00:48:54,600 --> 00:48:57,320
Speaker 1: Rivers at all. And so all the other guys are around,

1040
00:48:57,320 --> 00:49:00,200
Speaker 1: and there's super cool and they're signing the man yet

1041
00:49:00,440 --> 00:49:02,960
Speaker 1: well where you from? From? Markets? Over? You guys? That

1042
00:49:03,320 --> 00:49:05,080
Speaker 1: all the small talk, But to me it means a

1043
00:49:05,120 --> 00:49:07,320
Speaker 1: little more than that. To them, just another dude knocking

1044
00:49:07,320 --> 00:49:12,000
Speaker 1: on the bus door. And so the into the star bunk,

1045
00:49:12,880 --> 00:49:14,719
Speaker 1: the door opens and it's Rivers. He just kind of

1046
00:49:14,719 --> 00:49:16,120
Speaker 1: opens it and kind of looks in and he sees

1047
00:49:16,160 --> 00:49:18,440
Speaker 1: me and the little bit. He's been like, you know,

1048
00:49:18,440 --> 00:49:21,120
Speaker 1: fixing his face there's like a mirror, like fixing his hair,

1049
00:49:21,280 --> 00:49:24,120
Speaker 1: doing a little teeth thing, and I'm just going there.

1050
00:49:24,120 --> 00:49:26,399
Speaker 1: He is of all the things that I can say.

1051
00:49:26,920 --> 00:49:29,080
Speaker 1: It's like an elevator pitch and I'm not pitching anything.

1052
00:49:30,040 --> 00:49:31,440
Speaker 1: I just want to let the guy know. But I

1053
00:49:31,480 --> 00:49:32,919
Speaker 1: don't want to let him know so hard that he's

1054
00:49:33,040 --> 00:49:36,399
Speaker 1: creeped out. It's behind line, sure, but I never met him, right,

1055
00:49:37,640 --> 00:49:40,920
Speaker 1: And so he looks at me, and I don't want

1056
00:49:40,920 --> 00:49:44,279
Speaker 1: to go, hey, will you sign this? But I wanted

1057
00:49:44,360 --> 00:49:47,520
Speaker 1: him to sign this, And so he goes back to

1058
00:49:47,560 --> 00:49:49,720
Speaker 1: just thing, looks at me again, and he starts to

1059
00:49:49,760 --> 00:49:52,480
Speaker 1: take a step toward me, and I'm like you My

1060
00:49:52,480 --> 00:49:53,759
Speaker 1: heart starts to beat a little bit. I'm like, this

1061
00:49:53,760 --> 00:49:56,000
Speaker 1: is my moment right here, It's time. He takes about

1062
00:49:56,000 --> 00:49:57,320
Speaker 1: a half step forward and then shuts the door and

1063
00:49:57,360 --> 00:50:02,600
Speaker 1: goes back. And it wasn't toward me. It wasn't toward me.

1064
00:50:02,640 --> 00:50:04,640
Speaker 1: It wasn't toward anything I did that, you know, I wasn't.

1065
00:50:04,840 --> 00:50:06,200
Speaker 1: I was in his person. I ask you a question,

1066
00:50:06,280 --> 00:50:07,839
Speaker 1: Can I ask you a question? Yeah? Is that album

1067
00:50:07,960 --> 00:50:10,839
Speaker 1: still unsigned? In that space? They sent it back with

1068
00:50:10,920 --> 00:50:12,680
Speaker 1: him okay, and he was cool enough to sign it

1069
00:50:12,719 --> 00:50:13,880
Speaker 1: all right, because I was going to take care of

1070
00:50:13,920 --> 00:50:16,360
Speaker 1: that for you, you you know, And I wasn't upset. Actually

1071
00:50:16,760 --> 00:50:19,640
Speaker 1: I appreciated that because that was a dude being who

1072
00:50:19,640 --> 00:50:22,000
Speaker 1: exactly who he was. He's awesome. I gotta say something

1073
00:50:22,000 --> 00:50:24,640
Speaker 1: about Rivers, which is, you know, one thing I would

1074
00:50:24,680 --> 00:50:28,279
Speaker 1: tell is Rivers Pat Monahan, you know, fits like a

1075
00:50:28,280 --> 00:50:31,400
Speaker 1: few of these cats who I really love and I

1076
00:50:33,280 --> 00:50:34,959
Speaker 1: pretty close with. The one thing I'll tell you about

1077
00:50:34,960 --> 00:50:36,399
Speaker 1: all of them is the work ethic is like nothing

1078
00:50:36,400 --> 00:50:38,720
Speaker 1: you've ever seen. Rivers writes like three songs a day,

1079
00:50:38,960 --> 00:50:42,120
Speaker 1: like just absolutely just to permeate a Weezer record. For

1080
00:50:42,239 --> 00:50:46,600
Speaker 1: me is like Holy Grail, because honestly, I'm competing with

1081
00:50:46,680 --> 00:50:50,120
Speaker 1: the ten songs Rivers wrote last night. He's so prolific

1082
00:50:50,200 --> 00:50:53,680
Speaker 1: and really good. And Monahan is the same way and

1083
00:50:53,800 --> 00:50:55,880
Speaker 1: fits the same way. These guys work so hard and

1084
00:50:55,880 --> 00:50:58,839
Speaker 1: we're all the same age. So the notion that, like,

1085
00:50:59,640 --> 00:51:02,080
Speaker 1: you know, you can be this grown ass guy and

1086
00:51:02,120 --> 00:51:05,360
Speaker 1: just hit like aggressively wanted that bad and chase the

1087
00:51:05,480 --> 00:51:08,399
Speaker 1: art that to that extent. Rivers I learned that from

1088
00:51:08,440 --> 00:51:10,799
Speaker 1: more than any other artist I've never seen somebody work

1089
00:51:10,800 --> 00:51:12,839
Speaker 1: as hard as Rivers does. Next time we talk to him,

1090
00:51:12,880 --> 00:51:14,440
Speaker 1: tell him I love him. It's awkward. I didn't get

1091
00:51:14,440 --> 00:51:15,800
Speaker 1: a chance to tell him that it's a little awkward.

1092
00:51:15,840 --> 00:51:18,360
Speaker 1: It'd be very awkward and say Bobby loves you. No,

1093
00:51:18,440 --> 00:51:20,440
Speaker 1: I'm actually gonna say it. I'm like, dude, honestly, like

1094
00:51:20,800 --> 00:51:22,480
Speaker 1: you shut the bus door on him, you kind of

1095
00:51:22,520 --> 00:51:26,319
Speaker 1: put the kind of bust him. You know. I met

1096
00:51:26,360 --> 00:51:29,279
Speaker 1: Pat probably January of this year for the first time. Wow.

1097
00:51:29,440 --> 00:51:32,040
Speaker 1: We were at a Pebble beach playing the play Pebble

1098
00:51:32,040 --> 00:51:35,560
Speaker 1: Beach Front and so I guess this year they finally

1099
00:51:35,719 --> 00:51:37,719
Speaker 1: thought I was famous enough to be invited. Yeah, I'm

1100
00:51:37,760 --> 00:51:40,040
Speaker 1: pitch on him and so, well, I appreciate that. Yeah,

1101
00:51:40,080 --> 00:51:41,719
Speaker 1: and so I go out. I heard he's not bad,

1102
00:51:41,880 --> 00:51:44,200
Speaker 1: he's pretty good. Yeah, and so, but he was also

1103
00:51:44,560 --> 00:51:48,239
Speaker 1: super kind. He's a great guy, like overly kind to

1104
00:51:48,400 --> 00:51:50,640
Speaker 1: where I was like, man, you do not have to

1105
00:51:50,640 --> 00:51:52,919
Speaker 1: be this night. But he wasn't being anything that he wasn't.

1106
00:51:53,040 --> 00:51:54,480
Speaker 1: He's the best. And I went and ask a couple

1107
00:51:54,520 --> 00:51:55,520
Speaker 1: of other friends that have played it. He was like,

1108
00:51:55,520 --> 00:51:57,399
Speaker 1: oh yeah, Pat Money and he's like the greatest dude.

1109
00:51:57,440 --> 00:52:00,279
Speaker 1: Oh no, he's my guy. Like iow Iowa pat so much.

1110
00:52:00,280 --> 00:52:04,680
Speaker 1: He's an incredible friend and honestly, he's always he's he's

1111
00:52:04,760 --> 00:52:08,120
Speaker 1: so funny, he's so quick, and he doesn't suffer fools.

1112
00:52:08,120 --> 00:52:12,360
Speaker 1: He's really he's brilliant. Let's take a quick pause for

1113
00:52:12,400 --> 00:52:17,000
Speaker 1: a message from our sponsor, Wow, and we're back on

1114
00:52:17,120 --> 00:52:19,400
Speaker 1: the Bobby Cast. Bobby, one thing I did want to

1115
00:52:19,400 --> 00:52:21,560
Speaker 1: say to us in the six degrees between us, do

1116
00:52:21,600 --> 00:52:26,080
Speaker 1: you know where we cross in the greatest way. You

1117
00:52:26,160 --> 00:52:31,919
Speaker 1: gotta take this dancing with the stars. John Schneider, Oh yeah,

1118
00:52:31,960 --> 00:52:34,600
Speaker 1: I went to my high school, really, Dukes of Hazzard.

1119
00:52:34,760 --> 00:52:38,920
Speaker 1: He is from upstate New York. Why nobody knows that fact,

1120
00:52:39,280 --> 00:52:41,200
Speaker 1: I didn't know that. I'm going to throw that out

1121
00:52:41,239 --> 00:52:44,040
Speaker 1: for all the Foxes out there, But John Schneider attended

1122
00:52:44,120 --> 00:52:46,319
Speaker 1: Fox Lane High School. The reason I know that, which

1123
00:52:46,360 --> 00:52:49,239
Speaker 1: is a little interesting aside, is I did always want

1124
00:52:49,280 --> 00:52:50,440
Speaker 1: to get out and I wanted to get down the

1125
00:52:50,440 --> 00:52:53,600
Speaker 1: world and do something, you know, something loud in this business.

1126
00:52:53,920 --> 00:52:55,600
Speaker 1: When I was in ninth grade, he took the bus

1127
00:52:55,600 --> 00:52:59,040
Speaker 1: every Friday after school and I'll go to the Bedford

1128
00:52:59,080 --> 00:53:02,560
Speaker 1: Hills Library and upstairs on the third floor, this a

1129
00:53:02,600 --> 00:53:05,440
Speaker 1: little like beat up building. They kept old yearbooks like

1130
00:53:05,440 --> 00:53:08,759
Speaker 1: the stacks from historically from our high school. So I

1131
00:53:08,840 --> 00:53:13,759
Speaker 1: found both. There are our Illuminati where John Schneider and

1132
00:53:13,880 --> 00:53:16,680
Speaker 1: Susan Day from the Partridge family in La Law and

1133
00:53:16,840 --> 00:53:18,719
Speaker 1: I would find their yearbooks and then I would start

1134
00:53:18,760 --> 00:53:20,719
Speaker 1: to create these composites in my brain of how we

1135
00:53:20,760 --> 00:53:22,680
Speaker 1: could have been friends and who they hung out with,

1136
00:53:22,719 --> 00:53:23,960
Speaker 1: them trying to figure out who they ung out with

1137
00:53:24,000 --> 00:53:26,200
Speaker 1: and stuffing. I just I was obsessed with it. So, yeah,

1138
00:53:26,200 --> 00:53:32,000
Speaker 1: the John Schneider reveals that shouldn't be from upstate New York.

1139
00:53:32,000 --> 00:53:34,520
Speaker 1: They should have made sure medium money in mountains. Quite

1140
00:53:34,560 --> 00:53:36,600
Speaker 1: good looking as it as a young guy. Yeah, I

1141
00:53:36,840 --> 00:53:39,200
Speaker 1: looking older guy, but like really good looking younger. No

1142
00:53:39,239 --> 00:53:41,960
Speaker 1: one's ever accused me of that. I didn't know you're

1143
00:53:42,000 --> 00:53:43,800
Speaker 1: younger guy. I might fall in love with you then too. No,

1144
00:53:44,280 --> 00:53:46,440
Speaker 1: you know, I have big Doughey features and I've always have,

1145
00:53:46,600 --> 00:53:50,680
Speaker 1: so they're kind of exaggerated. I wouldn't say cartoonium Ringo star,

1146
00:53:51,560 --> 00:53:56,759
Speaker 1: He's a bully um Ringo star. Honestly show up at

1147
00:53:56,800 --> 00:54:00,200
Speaker 1: Ringo's house, you know, buddy, my Winston Simone with the

1148
00:54:00,239 --> 00:54:03,320
Speaker 1: great managers, my favorite managers ever in this business. Winston

1149
00:54:03,360 --> 00:54:06,160
Speaker 1: Simone connects me with a word had gotten out that

1150
00:54:06,719 --> 00:54:09,120
Speaker 1: Ringo was open to new collaborators because he's got a

1151
00:54:09,120 --> 00:54:12,000
Speaker 1: really tight circle. Right, It's Luca, Third's Joe Walsh. It's um,

1152
00:54:12,160 --> 00:54:13,840
Speaker 1: do you get nervous about the Ringo though you've been

1153
00:54:13,840 --> 00:54:15,799
Speaker 1: with a lot of people, but it's a beatle okay, Ringo.

1154
00:54:15,840 --> 00:54:18,919
Speaker 1: I don't get nervous with anybody. And still, yeah, it's

1155
00:54:18,920 --> 00:54:21,680
Speaker 1: probably you know, And that's honestly goes back to the

1156
00:54:21,680 --> 00:54:23,040
Speaker 1: war whole thing. I think, you know what I mean, Like,

1157
00:54:23,040 --> 00:54:25,239
Speaker 1: when you're exposed to stuff so young, you just get

1158
00:54:25,280 --> 00:54:27,319
Speaker 1: kind of numb to it. Maybe nervous isn't the word.

1159
00:54:27,320 --> 00:54:31,239
Speaker 1: And I don't get nervous really either. Same again, but

1160
00:54:31,360 --> 00:54:33,680
Speaker 1: still I was excited. But to meet Rivers, I was

1161
00:54:33,719 --> 00:54:35,960
Speaker 1: definitely stoked, you know, like I mean's Ringo, you know

1162
00:54:36,000 --> 00:54:37,759
Speaker 1: what I mean? Like, but I was able to at

1163
00:54:37,840 --> 00:54:42,200
Speaker 1: least I was composed, which helps, you know. And I

1164
00:54:42,239 --> 00:54:45,440
Speaker 1: would say, I showed up to the house and we

1165
00:54:45,920 --> 00:54:48,760
Speaker 1: dug in, you know, and we sat down the couch

1166
00:54:48,960 --> 00:54:51,000
Speaker 1: and right off the battles like piece of love, Piece

1167
00:54:51,000 --> 00:54:53,080
Speaker 1: of love. And then with like six seconds, it was

1168
00:54:53,120 --> 00:54:56,120
Speaker 1: like he was grilling me, like the toughest job interview

1169
00:54:56,120 --> 00:54:59,120
Speaker 1: in history for what reason. Well, I just think, like,

1170
00:54:59,360 --> 00:55:01,880
Speaker 1: you know, he probably, you know, he's got his guard up.

1171
00:55:01,920 --> 00:55:03,720
Speaker 1: I think he's probably trying to figure out my motives

1172
00:55:03,719 --> 00:55:05,520
Speaker 1: of why I'm so psyched to work with him, et cetera.

1173
00:55:05,719 --> 00:55:09,760
Speaker 1: You know. And it was very interesting because I really

1174
00:55:10,160 --> 00:55:11,960
Speaker 1: I tried to punch back whenever you'd say something, I

1175
00:55:12,040 --> 00:55:14,080
Speaker 1: try to say something weighty back, and it wasn't landing.

1176
00:55:14,600 --> 00:55:18,279
Speaker 1: And I thought, okay, I've literally screwed up this one opportunity.

1177
00:55:18,320 --> 00:55:20,040
Speaker 1: I'm in my car driving home and I said to him,

1178
00:55:20,040 --> 00:55:22,759
Speaker 1: I said, look, I said, you know, I'm gonna go

1179
00:55:22,840 --> 00:55:26,759
Speaker 1: home and I'm going to write a song and if

1180
00:55:26,760 --> 00:55:28,399
Speaker 1: you'll have me back tomorrow, i'll play for you said,

1181
00:55:28,440 --> 00:55:31,000
Speaker 1: come at two o'clock. So I came back. I wrote

1182
00:55:31,000 --> 00:55:35,280
Speaker 1: this tune, and my boy grand Michael's my engineer programmer

1183
00:55:35,280 --> 00:55:38,440
Speaker 1: as a writer, really talented kid. He reharmed what I

1184
00:55:38,480 --> 00:55:39,880
Speaker 1: was going for because I was trying to do some

1185
00:55:39,920 --> 00:55:43,000
Speaker 1: really randy newmany kind of chordal stuff, and I'm you know,

1186
00:55:43,040 --> 00:55:46,480
Speaker 1: I'm somewhat limited. And I went and sang ringo the tune,

1187
00:55:46,800 --> 00:55:49,640
Speaker 1: and he's sitting there at Ringo and his engineer, Bruce Sugars,

1188
00:55:49,640 --> 00:55:52,799
Speaker 1: a engineer, producer, a great guy, and these guys are

1189
00:55:52,840 --> 00:55:54,719
Speaker 1: just they dead pan me and I sing it, and

1190
00:55:54,800 --> 00:55:58,560
Speaker 1: you know, my voice is, you know, isn't the sexiest tone.

1191
00:55:58,560 --> 00:56:00,840
Speaker 1: It's sort of like, you know, it's like the Budweiser

1192
00:56:00,880 --> 00:56:04,799
Speaker 1: commercial that you turned down, you know, And so I

1193
00:56:04,840 --> 00:56:09,399
Speaker 1: sing this thing for him and Ringo goes, that's absolute shit,

1194
00:56:11,320 --> 00:56:14,880
Speaker 1: and I was like, whoa, and he's so dry and

1195
00:56:14,920 --> 00:56:18,160
Speaker 1: I'm trying to read him and he goes, no, I'm joking, joking.

1196
00:56:18,239 --> 00:56:20,040
Speaker 1: I love it. I love it, he said, but you

1197
00:56:20,080 --> 00:56:22,919
Speaker 1: know what, you sang me a song. I'm just gonna

1198
00:56:22,960 --> 00:56:25,560
Speaker 1: cut you a song. And I said, well, I didn't

1199
00:56:25,600 --> 00:56:29,680
Speaker 1: sing you a second verse or a bridge. H And

1200
00:56:29,840 --> 00:56:31,960
Speaker 1: next thing, you know, he just ripped into it and

1201
00:56:32,239 --> 00:56:36,040
Speaker 1: wrote a second verse. And this guy like comes alive

1202
00:56:36,320 --> 00:56:42,640
Speaker 1: at a level I've never seen, and his energy is freakish.

1203
00:56:42,719 --> 00:56:45,160
Speaker 1: He's jumping up and down, and I said, it's like

1204
00:56:45,160 --> 00:56:46,600
Speaker 1: one of these kids at a rave. You know, he's

1205
00:56:46,600 --> 00:56:49,799
Speaker 1: like po going and he's eighty at the time. Well

1206
00:56:49,800 --> 00:56:51,879
Speaker 1: he's probably seventy eight at the time. He's po going

1207
00:56:51,960 --> 00:56:54,600
Speaker 1: up and down. The best physicality in the world. He's

1208
00:56:54,719 --> 00:56:57,640
Speaker 1: running behind the kid. I'm watching Ringo play and his

1209
00:56:57,800 --> 00:57:01,440
Speaker 1: pocket is so nasty. He's doing all the sort of

1210
00:57:01,440 --> 00:57:06,480
Speaker 1: tricks they all did them, nasty, no embellishment, incredible feel,

1211
00:57:06,640 --> 00:57:10,520
Speaker 1: his pockets crazy and he's doing all the hambercushion. They's singing,

1212
00:57:10,520 --> 00:57:12,959
Speaker 1: he's doing everything's running around the room and I looked

1213
00:57:12,960 --> 00:57:14,799
Speaker 1: at it. It It was the first moment I really like

1214
00:57:14,960 --> 00:57:18,440
Speaker 1: felt like, man if this is how people age now,

1215
00:57:19,160 --> 00:57:20,960
Speaker 1: Like I'm alright with it, you know what I mean.

1216
00:57:21,360 --> 00:57:24,959
Speaker 1: And it's funny because I over appeared. You know, I've

1217
00:57:24,960 --> 00:57:28,400
Speaker 1: worked with some some incredible greats of the era, right

1218
00:57:28,520 --> 00:57:32,000
Speaker 1: Carol King, Ringo on the OJS, Eddie Lavert my god

1219
00:57:32,120 --> 00:57:37,800
Speaker 1: Eddie and Walter h Tom Jones, Joe Cocker. One thing

1220
00:57:37,800 --> 00:57:41,080
Speaker 1: I say about all these people, Mike love they all.

1221
00:57:41,600 --> 00:57:44,760
Speaker 1: They're the most incredible physical shape. It's humbling like every

1222
00:57:44,760 --> 00:57:46,680
Speaker 1: single time, Like you know, I had a night with

1223
00:57:46,720 --> 00:57:50,200
Speaker 1: the OJ's and we went out they played the Apollo

1224
00:57:50,240 --> 00:57:52,160
Speaker 1: Theater and then we all went out for drinks at

1225
00:57:52,200 --> 00:57:54,840
Speaker 1: some hotel bar and it's two in the morning and

1226
00:57:54,960 --> 00:57:57,520
Speaker 1: Eddie Laverte is gone. He's like, we're not done we're

1227
00:57:57,560 --> 00:58:01,360
Speaker 1: not done. He's dancing around more bloc goal. You know,

1228
00:58:01,840 --> 00:58:04,720
Speaker 1: these guys like they live it, and the fact that

1229
00:58:04,800 --> 00:58:07,120
Speaker 1: they have that energy makes me just feel so good.

1230
00:58:07,400 --> 00:58:10,480
Speaker 1: As you know, as I hit thirty now, I felt that,

1231
00:58:10,640 --> 00:58:12,800
Speaker 1: you know what I mean? I got four final questions.

1232
00:58:12,960 --> 00:58:15,640
Speaker 1: Number one is I was watching my TikTok. Lets me

1233
00:58:15,840 --> 00:58:21,600
Speaker 1: watch a lot of late sixties, early seventies, especially singer

1234
00:58:21,640 --> 00:58:25,880
Speaker 1: songwriter kind of acoustic. I want your TikTok that's where,

1235
00:58:25,920 --> 00:58:27,880
Speaker 1: that's where I live, and nineties wrestling. You know what

1236
00:58:27,920 --> 00:58:30,720
Speaker 1: mine is? What mine's usually like. It's usually like a

1237
00:58:30,760 --> 00:58:33,600
Speaker 1: young artist, usually from Nashville or something along the lines,

1238
00:58:33,600 --> 00:58:36,600
Speaker 1: and it's like, hey, they're in their car and the

1239
00:58:36,640 --> 00:58:39,480
Speaker 1: cameras are gonna go, Hey, I just broke up with

1240
00:58:39,520 --> 00:58:41,760
Speaker 1: my girlfriend today and I wrote a song about it.

1241
00:58:41,840 --> 00:58:44,000
Speaker 1: You want to hear it. And then they do the

1242
00:58:44,000 --> 00:58:45,960
Speaker 1: fake turn of the dial and then they lipsick a

1243
00:58:46,000 --> 00:58:47,240
Speaker 1: log to it for a second. They do a lot

1244
00:58:47,280 --> 00:58:50,680
Speaker 1: of hand movements, and that's when I just keep scrolling past. Sorry,

1245
00:58:50,720 --> 00:58:53,600
Speaker 1: I digress. That's I don't live there. I see those

1246
00:58:53,640 --> 00:58:55,720
Speaker 1: sometimes said to maybe I don't live there. I want

1247
00:58:55,720 --> 00:58:57,240
Speaker 1: to live where you live, all right, so go ahead.

1248
00:58:57,280 --> 00:58:59,440
Speaker 1: So I lives cool. Now loves cool because I see

1249
00:58:59,440 --> 00:59:03,760
Speaker 1: a lot of Tom Jones singing, either live or like

1250
00:59:03,920 --> 00:59:07,920
Speaker 1: on a television studio syste. I had no idea because

1251
00:59:07,960 --> 00:59:10,280
Speaker 1: the Tom Jones version that I know from my life

1252
00:59:10,360 --> 00:59:13,240
Speaker 1: is older Tom Jones caricature. Yeah, he's a beast. He's

1253
00:59:13,280 --> 00:59:16,160
Speaker 1: a real soul singer, one of the best I've ever heard,

1254
00:59:16,440 --> 00:59:21,520
Speaker 1: superstar good. I watched him and Ray Charles sing together,

1255
00:59:22,520 --> 00:59:25,120
Speaker 1: he back and forth. Yeah, Tom Jones had all the

1256
00:59:25,120 --> 00:59:27,400
Speaker 1: respect I mean, like he's literally look, he's one of

1257
00:59:27,440 --> 00:59:31,600
Speaker 1: those British like sort of just like soul like it's

1258
00:59:31,760 --> 00:59:34,680
Speaker 1: so good. Yeah. No, it's funny because like his pop

1259
00:59:34,720 --> 00:59:36,960
Speaker 1: cultural presence I think is so different from actually the

1260
00:59:37,000 --> 00:59:39,840
Speaker 1: core of his voice. He's a singer. And then I

1261
00:59:39,880 --> 00:59:42,040
Speaker 1: heard him sing later, maybe like two years ago on

1262
00:59:42,080 --> 00:59:45,280
Speaker 1: the voice in another country as an older guy and

1263
00:59:45,400 --> 00:59:48,000
Speaker 1: still sings something. I just had no idea. You know,

1264
00:59:48,080 --> 00:59:51,440
Speaker 1: I'm like a fetishist for raspy vocals, you know what

1265
00:59:51,520 --> 00:59:53,760
Speaker 1: I mean. So coming out of the UK, there's all

1266
00:59:53,800 --> 00:59:56,800
Speaker 1: those those cats like Tom Jones or Chris Riya, who's

1267
00:59:56,800 --> 00:59:59,320
Speaker 1: like very forgotten, but Chris Riha, you know, certainly in

1268
00:59:59,320 --> 01:00:01,440
Speaker 1: the States over the he's big, but like it's a

1269
01:00:01,520 --> 01:00:04,560
Speaker 1: gravel and when singers come along and have that British

1270
01:00:04,600 --> 01:00:07,720
Speaker 1: gravelly thing, Man, I'm the first guy at the record store,

1271
01:00:07,760 --> 01:00:09,360
Speaker 1: you know what I mean? Every single time it's my

1272
01:00:09,400 --> 01:00:11,960
Speaker 1: favorite voice. Cocker. I mean, come on, it's like literally

1273
01:00:11,960 --> 01:00:14,560
Speaker 1: like like like literally like like if you're gonna sweat

1274
01:00:14,600 --> 01:00:16,600
Speaker 1: that much when you sing, I need to appreciate that exactly.

1275
01:00:16,640 --> 01:00:19,320
Speaker 1: But Joe Cocker, like you know, you're one third of

1276
01:00:19,320 --> 01:00:20,919
Speaker 1: the way into a Cocker show. Or I would watch

1277
01:00:20,960 --> 01:00:23,080
Speaker 1: him live. Didn't get to go watch him in person,

1278
01:00:23,400 --> 01:00:26,880
Speaker 1: but I would watch Cocker live. You guys pouring sweat,

1279
01:00:26,960 --> 01:00:29,640
Speaker 1: like wiping himself down singing ballads. Well, the problem is

1280
01:00:29,640 --> 01:00:31,880
Speaker 1: like the bar was so high, you know, these guys,

1281
01:00:32,280 --> 01:00:34,760
Speaker 1: the performance level and the and the and the way

1282
01:00:34,800 --> 01:00:37,480
Speaker 1: they just left it all out on the stage. And

1283
01:00:37,720 --> 01:00:39,400
Speaker 1: there are very few singers I would say the same

1284
01:00:39,400 --> 01:00:43,000
Speaker 1: thing about now. It's not the same level of commitment,

1285
01:00:43,280 --> 01:00:47,000
Speaker 1: you know, like Cocker's thing was unbelievable. It's just and

1286
01:00:47,080 --> 01:00:50,120
Speaker 1: to cover a Beatles song, you're right right, and there

1287
01:00:50,120 --> 01:00:51,920
Speaker 1: are a lot of and listen, I love a lot

1288
01:00:51,920 --> 01:00:55,200
Speaker 1: of Joe Cocker, but I think how ballsy to cover

1289
01:00:55,240 --> 01:00:59,240
Speaker 1: a Beatles song period, but then you do have big

1290
01:00:59,240 --> 01:01:01,400
Speaker 1: balls when you do it, and you nail it. I

1291
01:01:01,440 --> 01:01:04,240
Speaker 1: mean it's it's one of the greatest covers ever. And

1292
01:01:04,400 --> 01:01:07,400
Speaker 1: the intro it's so was it the Wonder Years it

1293
01:01:07,440 --> 01:01:09,440
Speaker 1: was it was ahead of Yeah, so you know it

1294
01:01:09,520 --> 01:01:12,040
Speaker 1: was you know, once against that intro. I mean you

1295
01:01:12,040 --> 01:01:14,320
Speaker 1: are so like, that's an intro that'll suck you in.

1296
01:01:14,640 --> 01:01:17,920
Speaker 1: You instantly know that record wrap the bat and I

1297
01:01:17,920 --> 01:01:20,640
Speaker 1: mean his commitment level on the vocal and I'm with you, man,

1298
01:01:20,680 --> 01:01:23,400
Speaker 1: like I feel like, um, I feel like when people

1299
01:01:23,400 --> 01:01:27,920
Speaker 1: bludge in um classics, it's um. You know, that's just

1300
01:01:28,360 --> 01:01:31,400
Speaker 1: it's it's a it's a no can do for me,

1301
01:01:31,480 --> 01:01:32,800
Speaker 1: you know what I mean, it kind of sucks you

1302
01:01:32,840 --> 01:01:34,720
Speaker 1: in it at the beginning of all of his songs,

1303
01:01:35,240 --> 01:01:36,920
Speaker 1: I mean, even going You are So Beautiful to Me

1304
01:01:37,000 --> 01:01:40,840
Speaker 1: right comes on and it's and it's so you It's

1305
01:01:40,880 --> 01:01:43,760
Speaker 1: just it's that first vocal note and you're like, well

1306
01:01:43,760 --> 01:01:45,920
Speaker 1: this is different, but you can leave your hat on

1307
01:01:46,000 --> 01:01:47,200
Speaker 1: or any of the eighties stuff. I mean, it was

1308
01:01:47,200 --> 01:01:51,640
Speaker 1: just consistent, you know it um really really and one

1309
01:01:51,640 --> 01:01:53,560
Speaker 1: of the greatest singers. I didn't get to know him

1310
01:01:53,600 --> 01:01:55,320
Speaker 1: or anything. He just cut one of the songs, but

1311
01:01:55,840 --> 01:02:00,360
Speaker 1: he uh, he's incredible. You know. So my book that

1312
01:02:00,360 --> 01:02:03,160
Speaker 1: I wrote was called fail until You Don't, and it

1313
01:02:03,280 --> 01:02:05,440
Speaker 1: was basically me just screwing it right and some of

1314
01:02:05,440 --> 01:02:07,040
Speaker 1: the complations we've had, I knew the answer for. I

1315
01:02:07,080 --> 01:02:08,640
Speaker 1: would just want to walk down it with you. But

1316
01:02:08,800 --> 01:02:11,360
Speaker 1: I knew. Listen, you your rap care didn't go well

1317
01:02:11,920 --> 01:02:14,840
Speaker 1: at DJ. You know you weren't near as good as I.

1318
01:02:15,080 --> 01:02:16,480
Speaker 1: Let's be honest. You know I've made a big career

1319
01:02:16,480 --> 01:02:18,120
Speaker 1: out of this and you've done fair at what you're doing.

1320
01:02:18,160 --> 01:02:20,480
Speaker 1: I do have a face for radio, so you have

1321
01:02:20,520 --> 01:02:23,000
Speaker 1: all But why why was it important to you in

1322
01:02:23,040 --> 01:02:29,280
Speaker 1: this book to showcase the difficult times as the main theme?

1323
01:02:29,400 --> 01:02:33,680
Speaker 1: I'll tell you because, um, you know, my daughter's seventeen,

1324
01:02:33,800 --> 01:02:35,720
Speaker 1: so what is that gen z or whatever? You know.

1325
01:02:35,800 --> 01:02:39,720
Speaker 1: I'm scared for these kids because when you have, when

1326
01:02:39,720 --> 01:02:41,760
Speaker 1: you have so much technology at your hands and so

1327
01:02:41,840 --> 01:02:44,600
Speaker 1: much everything is just pulling at your attention twenty four

1328
01:02:44,600 --> 01:02:47,200
Speaker 1: hours a day. I'm scared that these kids might not

1329
01:02:47,280 --> 01:02:49,320
Speaker 1: have the same work ethic because I think they might

1330
01:02:49,320 --> 01:02:51,760
Speaker 1: get just constantly pulled and like, hey, I don't want

1331
01:02:51,760 --> 01:02:53,120
Speaker 1: to do this very long, and maybe I'll do this

1332
01:02:53,200 --> 01:02:54,640
Speaker 1: job for six weeks, and maybe I'll do this and

1333
01:02:54,720 --> 01:02:57,040
Speaker 1: quit this and quit this and quit this. And I

1334
01:02:57,120 --> 01:03:02,240
Speaker 1: stuck something out against improbable odds, and it was the

1335
01:03:02,240 --> 01:03:06,040
Speaker 1: greatest decision in my life, and I think I believe there.

1336
01:03:06,800 --> 01:03:08,600
Speaker 1: I want to speak to two people with this book,

1337
01:03:08,640 --> 01:03:11,560
Speaker 1: one to the youth, just to say there is a pathway,

1338
01:03:11,640 --> 01:03:14,640
Speaker 1: but I want you to be aware of what you're entering. Right.

1339
01:03:14,680 --> 01:03:16,800
Speaker 1: You have to understand you're going to get failed two

1340
01:03:16,800 --> 01:03:20,400
Speaker 1: thousand times two thousand Knows Matt Tell, Negrom and Buddy's book.

1341
01:03:20,440 --> 01:03:22,240
Speaker 1: It's like two thousand knows. It's just the truth. You're

1342
01:03:22,320 --> 01:03:26,520
Speaker 1: gonna You're the rejections. You have to use them as scars,

1343
01:03:26,680 --> 01:03:28,000
Speaker 1: you know. You have to take those scars and take

1344
01:03:28,040 --> 01:03:30,600
Speaker 1: those calluses and have them fuel you to go forward.

1345
01:03:31,720 --> 01:03:33,880
Speaker 1: But if you don't have that wiring, and if you're

1346
01:03:33,880 --> 01:03:35,919
Speaker 1: going into this delusion, they thinking okay, Like once again,

1347
01:03:36,000 --> 01:03:37,720
Speaker 1: like I got TikTok famous last night, I had a

1348
01:03:37,760 --> 01:03:40,480
Speaker 1: song and went viral, blah blah blah. You don't understand

1349
01:03:40,520 --> 01:03:42,160
Speaker 1: what you're in for. If you want to do this

1350
01:03:42,280 --> 01:03:44,600
Speaker 1: as long as I've been doing it. The rejections will

1351
01:03:44,680 --> 01:03:47,160
Speaker 1: mount at a freakish level, and I just want people

1352
01:03:47,160 --> 01:03:49,000
Speaker 1: to be aware of it. But there is a way out.

1353
01:03:49,640 --> 01:03:51,880
Speaker 1: And the other thing is I really want to reach

1354
01:03:51,920 --> 01:03:54,320
Speaker 1: anybody who has creative wiring who just might have packed

1355
01:03:54,360 --> 01:03:56,520
Speaker 1: it in early, you know, because I was blessed, Like

1356
01:03:56,600 --> 01:03:58,280
Speaker 1: I came up in the city and you know, we're

1357
01:03:58,320 --> 01:04:00,520
Speaker 1: in these village in New York, and I would say,

1358
01:04:00,760 --> 01:04:02,480
Speaker 1: if I came up with like a hundred cats in

1359
01:04:02,600 --> 01:04:06,120
Speaker 1: that time, you know, five six of us left doing it,

1360
01:04:06,280 --> 01:04:07,720
Speaker 1: you know what I mean. Like most people went on

1361
01:04:07,800 --> 01:04:11,680
Speaker 1: to different things, some because they lost interest and others

1362
01:04:11,720 --> 01:04:14,440
Speaker 1: because they just couldn't feasibly make it work anymore. I

1363
01:04:14,560 --> 01:04:16,000
Speaker 1: kind of want to speak to those people and say,

1364
01:04:16,000 --> 01:04:18,400
Speaker 1: you know, give it another shot. Give it another shot.

1365
01:04:18,480 --> 01:04:22,000
Speaker 1: It's not you're not done by any stretch. Because honestly,

1366
01:04:22,440 --> 01:04:25,160
Speaker 1: if you are as tenacious about it as I was,

1367
01:04:26,040 --> 01:04:28,200
Speaker 1: you can probably you know, I don't know what goal.

1368
01:04:28,280 --> 01:04:30,080
Speaker 1: You know, you have to ascertain your own goals, but

1369
01:04:30,200 --> 01:04:32,800
Speaker 1: like you could, you know, you could do something special.

1370
01:04:33,400 --> 01:04:36,160
Speaker 1: It's just here's case in point of somebody who was

1371
01:04:36,240 --> 01:04:38,520
Speaker 1: like moderately gifted at best when he started and just

1372
01:04:38,600 --> 01:04:42,000
Speaker 1: got better, you know, third question of four why now, though,

1373
01:04:43,240 --> 01:04:46,480
Speaker 1: because I felt like I was still like mildly culturally relevant,

1374
01:04:46,560 --> 01:04:50,640
Speaker 1: and my fear was, you know, in a decade from now,

1375
01:04:51,520 --> 01:04:53,880
Speaker 1: some of these songs might not have the same residence,

1376
01:04:54,000 --> 01:04:55,800
Speaker 1: and I want to do it when people actually might

1377
01:04:55,880 --> 01:04:58,400
Speaker 1: still take my phone calls, you know, including a publisher.

1378
01:04:58,440 --> 01:04:59,520
Speaker 1: It's like, you know, I don't know if a book

1379
01:04:59,560 --> 01:05:01,160
Speaker 1: do it, you know, ten years from now, if a

1380
01:05:01,200 --> 01:05:04,320
Speaker 1: publisher would have been interested. But also, look, we're in

1381
01:05:04,360 --> 01:05:06,439
Speaker 1: such a crazy time right, We're entering into the AI

1382
01:05:06,600 --> 01:05:11,120
Speaker 1: phase and all these other you know, technological advances, they're

1383
01:05:11,120 --> 01:05:14,160
Speaker 1: gonna just absolutely affect the music. It's just obvious where

1384
01:05:14,360 --> 01:05:16,560
Speaker 1: all the stuff is headed. And it felt like a

1385
01:05:16,680 --> 01:05:19,600
Speaker 1: nice moment to pivot creatively for a second and to

1386
01:05:19,720 --> 01:05:22,320
Speaker 1: just get out of the fray, clear my head. Right,

1387
01:05:22,360 --> 01:05:24,120
Speaker 1: everything this is all me. There's no co writers or

1388
01:05:24,160 --> 01:05:27,360
Speaker 1: ghost writers. It's literally three hundred zillion pages of my psyche.

1389
01:05:27,920 --> 01:05:30,200
Speaker 1: But I felt like this was like a rinse out

1390
01:05:31,000 --> 01:05:33,840
Speaker 1: and then I'm going to come back like just stronger

1391
01:05:33,920 --> 01:05:36,440
Speaker 1: than ever because I feel so creatively sort of motivated,

1392
01:05:36,480 --> 01:05:39,160
Speaker 1: because I needed the break. My final question it's just

1393
01:05:39,200 --> 01:05:40,720
Speaker 1: two words with the question mark at the end of it,

1394
01:05:40,880 --> 01:05:45,840
Speaker 1: Harry's close Baha Man. Question one. All right, so you

1395
01:05:45,960 --> 01:05:49,000
Speaker 1: guys are all very familiar with who let the dogs out,

1396
01:05:49,040 --> 01:05:51,120
Speaker 1: so let's not make it weird between us. Couldn't be

1397
01:05:51,200 --> 01:05:53,920
Speaker 1: more Yeah, So I didn't do that one, Okay, I

1398
01:05:54,440 --> 01:05:56,360
Speaker 1: did the follow up. It was called move It like This.

1399
01:05:59,160 --> 01:06:01,520
Speaker 1: It was recorded the Bahamas with the Baham and a

1400
01:06:01,600 --> 01:06:03,880
Speaker 1: couple little fun facts for you. Won the Bahaman stole

1401
01:06:03,960 --> 01:06:06,800
Speaker 1: my headphones and didn't return them, which was kind of dark.

1402
01:06:06,920 --> 01:06:08,840
Speaker 1: So if you ever like our ent cruise ship and

1403
01:06:08,920 --> 01:06:12,520
Speaker 1: you see one of the Bahaman guys wearing a nice,

1404
01:06:13,280 --> 01:06:16,000
Speaker 1: nice pair of Panasonic phones from back in the day,

1405
01:06:16,120 --> 01:06:18,600
Speaker 1: I think you could make a case for me. Second

1406
01:06:18,640 --> 01:06:21,200
Speaker 1: of all, we did get yelled at we're in the Bam.

1407
01:06:21,600 --> 01:06:25,280
Speaker 1: There was a McDonald's in the Bahamas and me and

1408
01:06:25,440 --> 01:06:29,360
Speaker 1: Mike Mangini, my buddy, and Dave Shomer we were working

1409
01:06:29,400 --> 01:06:31,760
Speaker 1: with these guys and we had a twelve Newton session

1410
01:06:32,200 --> 01:06:34,840
Speaker 1: and Mike walked through the door at twelve o two

1411
01:06:35,080 --> 01:06:37,640
Speaker 1: carrying a couple of bags of McDonald's for us, and

1412
01:06:38,520 --> 01:06:42,240
Speaker 1: the leader of the Bahaman screamed at him about being

1413
01:06:42,440 --> 01:06:45,200
Speaker 1: late and that McDonald's should never be a priority. And

1414
01:06:45,280 --> 01:06:47,160
Speaker 1: by the way, I remember I didn't learn from mistakes, right,

1415
01:06:47,200 --> 01:06:49,800
Speaker 1: I've learned from mistakes. I have never let McDonald's be

1416
01:06:49,840 --> 01:06:52,960
Speaker 1: a priority, and you know my bookings. Ever again, you

1417
01:06:53,160 --> 01:06:56,000
Speaker 1: never know where you will learn something from a Bahaman.

1418
01:06:56,880 --> 01:06:59,600
Speaker 1: It could be in the Bahamas with the Bahama men.

1419
01:07:00,280 --> 01:07:01,920
Speaker 1: You know. I gambled down there. We went to the

1420
01:07:02,240 --> 01:07:04,760
Speaker 1: we went to the paradise. What's called the what's accompassment?

1421
01:07:04,800 --> 01:07:07,760
Speaker 1: What's what's the big casino? And uh robin down there

1422
01:07:07,760 --> 01:07:09,880
Speaker 1: about the casino? I trust it. There's a casino, so

1423
01:07:10,120 --> 01:07:12,960
Speaker 1: you know. And I won like nine hundred dollars, which

1424
01:07:13,040 --> 01:07:15,520
Speaker 1: was so huge for me. And I'm so cheap. You know,

1425
01:07:16,040 --> 01:07:18,800
Speaker 1: everyone's goating me. They're like double down, double down. I'm

1426
01:07:18,800 --> 01:07:21,720
Speaker 1: like nine hundred dollars. This is a new stereo. And

1427
01:07:21,800 --> 01:07:23,040
Speaker 1: I took it back to New York and I bought

1428
01:07:23,080 --> 01:07:26,440
Speaker 1: this shitty stereo. It's amazing, prodest moment of life. Listen,

1429
01:07:26,520 --> 01:07:28,200
Speaker 1: this has been I could do this for two hours. Hey,

1430
01:07:28,280 --> 01:07:30,080
Speaker 1: we've done over an hour here. I'm just a massive

1431
01:07:30,120 --> 01:07:32,760
Speaker 1: fan of your word. Brother, I'm a bigger fan. And honestly,

1432
01:07:32,920 --> 01:07:34,680
Speaker 1: this that you have no idea much means to me man,

1433
01:07:34,840 --> 01:07:36,680
Speaker 1: you're a you're a you're an icon, You're a beacon

1434
01:07:36,720 --> 01:07:39,600
Speaker 1: of light for the community. And also you did great

1435
01:07:39,600 --> 01:07:41,760
Speaker 1: work with music music. It's on call, which I know of,

1436
01:07:41,880 --> 01:07:44,440
Speaker 1: so it's awesome. Well thanks, I appreciate the time. Everybody

1437
01:07:44,600 --> 01:07:47,120
Speaker 1: twenty one hit Wonder if they want to order it, yeah,

1438
01:07:47,240 --> 01:07:50,280
Speaker 1: I mean just go to Amazon and you know and

1439
01:07:50,840 --> 01:07:53,080
Speaker 1: order it. And um, if they have any questions that

1440
01:07:53,120 --> 01:07:55,080
Speaker 1: can always hit me on the Graham. I'm on the Graham.

1441
01:07:55,240 --> 01:07:56,880
Speaker 1: Just give out your number of text you Yeah, they can.

1442
01:07:57,200 --> 01:08:01,440
Speaker 1: You know, it's great. They're good. All right, you guys

1443
01:08:01,480 --> 01:08:04,439
Speaker 1: follow Sam Sam Hollander on Instagram. Twenty one hit Wonder

1444
01:08:04,520 --> 01:08:06,680
Speaker 1: is the book? And you still making money off all

1445
01:08:06,680 --> 01:08:08,320
Speaker 1: these songs? It still come in. I progress and sold

1446
01:08:08,360 --> 01:08:10,960
Speaker 1: my catalogs. Did is that in the news? And how

1447
01:08:11,080 --> 01:08:13,360
Speaker 1: much it was? I would never let that out, but

1448
01:08:13,680 --> 01:08:15,960
Speaker 1: you know it was great. So I did it twenty

1449
01:08:16,200 --> 01:08:20,120
Speaker 1: nineteen to Hypnosis and um sold at all? I did

1450
01:08:20,280 --> 01:08:27,360
Speaker 1: over ten million, Um, it doesn't matter, Okay, all right,

1451
01:08:27,400 --> 01:08:30,879
Speaker 1: it's always said to my daughter, over ten million dollar hairs.

1452
01:08:31,400 --> 01:08:35,040
Speaker 1: So no, I did great and um and everything I

1453
01:08:35,120 --> 01:08:37,160
Speaker 1: have going forward since two thousand nineteen is mine and

1454
01:08:37,200 --> 01:08:39,519
Speaker 1: hopefully I'll sell another one. But what it did was

1455
01:08:39,560 --> 01:08:41,200
Speaker 1: it really freed me up to do things like this

1456
01:08:41,479 --> 01:08:43,400
Speaker 1: and you know, just be a better human. When did

1457
01:08:43,400 --> 01:08:47,240
Speaker 1: you write records? Um, that's twenty twenty one, so I

1458
01:08:47,360 --> 01:08:48,960
Speaker 1: owe on records. We're on the way, We're on our way.

1459
01:08:49,000 --> 01:08:53,880
Speaker 1: That's records in my hit jam, Sam, thank you, Thank

1460
01:08:53,920 --> 01:08:57,600
Speaker 1: you for having me. Guys, thanks for listening to a

1461
01:08:57,720 --> 01:08:58,919
Speaker 1: Bobby Cast production