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Speaker 1: I'm Alec Baldwin and you're listening to Here's the Thing

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Speaker 1: from iHeart Radio.

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Speaker 2: You ad suck.

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Speaker 3: You just bond n face down and memory feel it

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Speaker 3: all right? So who does your past belong to today?

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Speaker 4: Baby?

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Speaker 3: You'll say nothing when you're.

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Speaker 2: Feeling this way.

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Speaker 1: That's singer songwriter Roseanne Cash singing seven Year eight off

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Speaker 1: the nineteen eighty one album of the same name. Cash

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Speaker 1: has certainly made her mark in the musical world eleven

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Speaker 1: number one country songs, twenty one top forty country singles,

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Speaker 1: two Gold records, and four Grammys, and she doesn't stop

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Speaker 1: at songwriting. She is also an essayist and author of

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Speaker 1: several books, including her best selling memoir Composed Roseanne Cash

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Speaker 1: began her career in music singing back up for one

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Speaker 1: of the most important country music artists of all time,

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Speaker 1: her father, Johnny Cash. Since then, Cash has enjoyed an

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Speaker 1: illustrious career of her own that spans four decades. She

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Speaker 1: released her first album, the self titled Roseanne Cash, in

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Speaker 1: nineteen seventy eight. I wanted to know what it was

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Speaker 1: like for a young woman starting out in the music

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Speaker 1: business at that time.

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Speaker 2: You know that album I made in seventy eight I

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Speaker 2: made in Germany for a European label. I think I

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Speaker 2: was dipping my toe in the water to see if

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Speaker 2: this was actually how I wanted to live my life.

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Speaker 2: Because I thought of myself as a songwriter, I thought

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Speaker 2: I would write songs for other people. I was shy,

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Speaker 2: I didn't have the need for attention to be a performer,

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Speaker 2: and I didn't want to invite comparisons with my dad,

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Speaker 2: and so I thought being a songwriter as a nobook profession,

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Speaker 2: that's what I want to do. And I was already

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Speaker 2: doing it for early teens. But Ariela heard my songs

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Speaker 2: and they said, you know, would you make a record

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Speaker 2: for us. It took me a while to decide, but

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Speaker 2: I did, and then I got signed to Columbia in

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Speaker 2: the States, and then you know, here we are today.

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Speaker 2: But to answer your question, the climate for women then,

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Speaker 2: unfortunately has not changed that much. Really, it's still very

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Speaker 2: much a boys club. Back then, the programmers radio programmers

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Speaker 2: would say, oh, we can't put two women back to

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Speaker 2: back on the radio. They still say that. I think

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Speaker 2: maybe what has changed is they don't overtly put their

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Speaker 2: hand on your ass when you walk into the really

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Speaker 2: you know the radio station, but it still happens.

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Speaker 1: One thing I would expect was that there was a

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Speaker 1: time in the sixties and seventies when they were like,

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Speaker 1: you know, hey, we want to fluff you up for

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Speaker 1: this album cover. We need you to pop one more

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Speaker 1: button and do this and do this, and they want

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Speaker 1: just sex up everything to sell the record.

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Speaker 5: Oh god, yes, So there was a lot of that

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Speaker 5: back then.

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Speaker 2: Okay, So I went into a marketing meeting, my first

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Speaker 2: marketing meeting for my first US album, and it was

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Speaker 2: all men in the meeting. I was, you know, twenty

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Speaker 2: three years old, and I walked in and sat down

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Speaker 2: and straight out the head of the label said, okay,

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Speaker 2: so our main marketing goal is to make you fuckable

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Speaker 2: in front of everybody. To me, twenty three year.

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Speaker 5: Old girl, you believe that?

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Speaker 2: And I was so flustered, you know, I didn't know

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Speaker 2: how to push back. I was just like, but I'm

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Speaker 2: not going to do that. And actually it had the

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Speaker 2: reverse effect on me. I didn't show skin. I didn't

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Speaker 2: like to show skin. I didn't like to play that

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Speaker 2: game at all. I thought, well, I'm a good songwriter,

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Speaker 2: I'm good enough without that. It was hubris then, because

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Speaker 2: you know, I wasn't great then I've gotten better.

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Speaker 1: Now When you write songs, I want to see how

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Speaker 1: this has changed over the arc of time, because you've

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Speaker 1: written many albums for many years. If the self titled

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Speaker 1: album is seventy eight she remembers everything is in twenty eighteen,

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Speaker 1: so that's a forty year gap. And what I'm wondering

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Speaker 1: is who do you show your songs too? Has that

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Speaker 1: changed when you were younger, When you were a younger

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Speaker 1: woman writing songs, who would you take it to and say,

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Speaker 1: give me your feedback on my song?

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Speaker 5: And was it your family?

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Speaker 2: Sometimes my dad, Yeah, I trusted him. I was very

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Speaker 2: very careful about who I played my songs to, and

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Speaker 2: I didn't like playing songs to people before they were finished.

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Speaker 2: I mean I was because I was really territorial, and

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Speaker 2: like I said, I had some hubers about myself as

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Speaker 2: a songwriter. I didn't want interference. I didn't want to

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Speaker 2: get distracted by other people's opinions. But there were really

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Speaker 2: good songwriters I trusted who I would play the songs

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Speaker 2: to to get feedback after I had finished. And that's

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Speaker 2: still the case mostly now for my husband John, who

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Speaker 2: I work with a lot who's produced my records. We

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Speaker 2: co write a lot. He's a tremendous musician and I

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Speaker 2: trust him.

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Speaker 5: Where did you and he meet?

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Speaker 2: My first husband introduced us and I said to myself,

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Speaker 2: Oh my god, my life is getting it so complicated.

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Speaker 1: And Crowell your first husband, you did a lot of

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Speaker 1: recordings with him as well.

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Speaker 5: He produced you as well. Correct?

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Speaker 2: I did you know? There's something about working with your

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Speaker 2: spouse if you find a rhythm and a groove and

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Speaker 2: you can stop bringing your personal life into every interaction

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Speaker 2: and fighting. There's something capital or romantic about that. Excepting

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Speaker 2: and create. Yeah, being created.

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Speaker 1: I always wanted to work with my wife and do

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Speaker 1: some silly TV show just to work with my wife.

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Speaker 5: I didn't really care about what it was. To a degree,

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Speaker 5: Oh do it?

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Speaker 2: Do it?

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Speaker 5: I thought about it. We tried.

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Speaker 1: But so Rodney Crowell your first husband, John Leventhal your

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Speaker 1: current husband. How does that change over time in terms

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Speaker 1: of what you rely on producers for? There was this

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Speaker 1: I always wondered for me, who's a complete novice? Like

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Speaker 1: does Quincy Jones walk into the studio and say to

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Speaker 1: Michael Jackson sing it this way? Is there somebody who

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Speaker 1: tells you what to do what they want you to.

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Speaker 1: Try to do that pushes you.

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Speaker 2: That would be a little blunt and probably put me off,

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Speaker 2: But I know what you mean. But yet they push.

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Speaker 2: I mean I think that Rodney when I was young,

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Speaker 2: you know, we were working together. I think he had

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Speaker 2: more confidence in my voice than I did, and he

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Speaker 2: kept pushing, you know, do it this way, try it

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Speaker 2: this way, you can do this. You know, what would

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Speaker 2: you think about this? And even to the point of

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Speaker 2: you know, method acting, like what's the spirit behind this,

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Speaker 2: what's the memory behind this, what's the feeling behind this,

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Speaker 2: what's the truth of this? Exactly? With John he pushes

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Speaker 2: me even more and sometimes I just say, I'm not

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Speaker 2: a session singer. Get someone who will obey you, because

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Speaker 2: that's not me. But it's always in the service of

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Speaker 2: doing something good together.

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Speaker 1: Right, you talk about method acting and the truth of something.

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Speaker 1: There are sections of your biography and periods of your life.

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Speaker 1: Will you go to Vanderbilt? How long were you at Vanderbilt?

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Speaker 2: A year? Was an incredibly lonely experienced.

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Speaker 5: Oh really, and you had gone there to study what.

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Speaker 2: I'm double majored in English and drama. I had a

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Speaker 2: fabulous English professor Walter Sullivan, who was kind of a legendary.

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Speaker 2: I learned a lot from him, but I was a

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Speaker 2: little older because I had gone to a year of

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Speaker 2: college elsewhere, moved to London for six months, came back.

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Speaker 2: So I was twenty years old as a sophomore. And

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Speaker 2: it made a difference at that age, and I didn't

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Speaker 2: have any friends, and so you enjoy this. I went

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Speaker 2: to the Lee Strasburg Institute and Lee was still teaching

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Speaker 2: there and I audited his classes. He was so frightening,

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Speaker 2: did you know, Yes.

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Speaker 1: Yes, he would give a lecture when I went there.

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Speaker 1: I went there seventy nine through eighty that one year

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Speaker 1: through NYU. I went through NYU and he gave a

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Speaker 1: lecture periodically and he was mentioning something about the manipulation

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Speaker 1: of the lobes of the brain. And I walked up

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Speaker 1: to him and he was grasping, and he was pretty old,

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Speaker 1: and I walked up to him. And I don't know

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Speaker 1: why I did this, but I walked up to him

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Speaker 1: and I said, is the word you were looking for? Phrenology?

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Speaker 1: And I didn't even know what I was talking about.

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Speaker 1: And he looked at him and he went, no, he

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Speaker 1: like bomped me. Now he snapped, and I thought, well,

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Speaker 1: that's my Lee Strasburg story I'm going to tell for

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Speaker 1: the rest of my career.

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Speaker 2: I studied with a man named Dominic Defasio.

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Speaker 5: What year, Oh, that was the year before I.

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Speaker 2: Made the first record, so that was seventy seven, and

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Speaker 2: I audited Lee's classes and sat at the back because

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Speaker 2: he was so terrifying, and he would do these psychological

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Speaker 2: games with the students. I'm sure you saw this, where

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Speaker 2: he would one week spend the entire time tearing somebody's

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Speaker 2: performance down and having her redo it, and then coming

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Speaker 2: the next week when she came in and did it again,

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Speaker 2: he would just go very nice and walk away like

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Speaker 2: so that she was always off guard.

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Speaker 5: Right As a Strasburg technique, Yeah, was it?

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Speaker 2: Really?

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Speaker 1: When I went to Strasburg, there was one teacher who

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Speaker 1: I've since become kind of friendly with.

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Speaker 5: But if somebody would do a scene and it'd.

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Speaker 1: Be a long pause, a very arid pause, you know,

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Speaker 1: like tumbleweeds are blowing across the stage, and this guy

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Speaker 1: would look at the kid and go, why'd you bother?

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Speaker 5: That's all he'd say.

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Speaker 1: Oh my god, I mean they really hurt people's feelings.

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Speaker 1: But now, when you went to Vanderbilt for a year

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Speaker 1: and it only lasted the year, you said you were lonely,

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Speaker 1: you just so were you running away from something? Did

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Speaker 1: you say yourself, I don't want a music career. I

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Speaker 1: don't want to do this anymore. Now, writing music is

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Speaker 1: one thing, Loving music and being an artist is one thing,

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Speaker 1: as you know, but a career and something.

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Speaker 5: Is completely different.

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Speaker 2: Absolutely, And did.

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Speaker 5: You say you didn't want a career in that anymore?

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Speaker 2: The career part was troubling me, definitely. But I had

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Speaker 2: been living in London and I'd got my heart broken.

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Speaker 2: I moved to London and I started seeing myself as

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Speaker 2: an expatriot and I didn't want to come back and

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Speaker 2: I was only twenty and my dad, after six months there,

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Speaker 2: he said you have to come back now.

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Speaker 5: And now why did he say that?

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Speaker 2: Because I think he saw that he would lose me

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Speaker 2: to the family, and he was right. I was going

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Speaker 2: to just disappear.

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Speaker 1: So your father was instrumental in getting you to come home,

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Speaker 1: not only instrumental.

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Speaker 2: It was because of him that I came home. That's

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Speaker 2: when I went to Vanderbilt.

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Speaker 5: But what was the impetus for you with acting.

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Speaker 2: Well, I loved drama. You know, I majored in drama

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Speaker 2: and English in college. I loved plays. I loved the

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Speaker 2: theater so much. And I thought, well, maybe, you know,

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Speaker 2: this is a way I could work out this enormously

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Speaker 2: powerful urge to create in myself. Was writing songs, but

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Speaker 2: I thought, well, maybe this is a forum. And then

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Speaker 2: I realized very quickly I did not want to be

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Speaker 2: an actor.

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Speaker 1: Well acting, it's funny because when I look at your dad,

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Speaker 1: I don't have a lot of I don't want to

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Speaker 1: push too far into the whole well worn talk about

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Speaker 1: your father, who I adored. I mean your father, I

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Speaker 1: mean I was a little boy boy named Sue sixty nine.

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Speaker 5: I'm eleven years old.

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Speaker 1: I'm on Long Island and I'm there with my little

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Speaker 1: transistor radio listening to build me up, Buttercup. I'm listening

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Speaker 1: to Disraeli Gears from Cream and I'm listening to a

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Speaker 1: boy named Sue from Johnny Cash, and I'm laughing my

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Speaker 1: ass off. This guy is the funniest guy. And when

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Speaker 1: you listen to him in that song, and of course

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Speaker 1: I read that he did several films and a lot

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Speaker 1: of TV. He said like a guy that was having

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Speaker 1: a good time and laughing and having a ball. He

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Speaker 1: was like a joyous guy, and I've seen depictions of

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Speaker 1: him where that seems to be missing. He was kind

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Speaker 1: of a fun loving guy. He wasn't just a tough guy,

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Speaker 1: you know what I mean? Was he somebody you think

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Speaker 1: might have had more of a career as an actor

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Speaker 1: if he wanted to.

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Speaker 2: You just said a lot here. That captured my attention

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Speaker 2: and makes me think about my dad and how he

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Speaker 2: truly was. He had a profound wound at his center.

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Speaker 2: He grew up in really difficult circumstances with an abusive father,

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Speaker 2: and he lost his brother who was his hero, when

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Speaker 2: he was twelve years old, and that suffering created in

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Speaker 2: him the most deepest empathy and compassion for those who suffer,

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Speaker 2: and much of his work came out of that and

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Speaker 2: from our celtic melancholy roots. At the same time, he

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Speaker 2: was joyish. He loved babies, he loved playing practical jokes,

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Speaker 2: He loved hanging out with kids and being a kid himself.

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Speaker 2: So you know, he was the yin and yang to

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Speaker 2: the extreme of both of those things.

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Speaker 1: Well, you see him his looks, he's so striking. He's

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Speaker 1: so powerful. I mean, I'm not talking about as a musician,

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Speaker 1: which that's obvious what I'm seeing. I thought to myself,

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Speaker 1: this guy could have been a great movie store if

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Speaker 1: he really had just thrown himself in that direction, he

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Speaker 1: could have been a great actor.

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Speaker 5: You know, do you agree?

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Speaker 2: Do you know what the first film we moved to California.

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Speaker 2: I was born in Memphis. We moved to California because

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Speaker 2: he when I was three years old, because he got

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Speaker 2: offered a film and he thought, you know, as a manager,

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Speaker 2: is like, this would be a great opportunity for you

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Speaker 2: to go to this direction. The film was called Door

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Speaker 2: to Door Maniac.

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Speaker 5: Oh great, and he played the title role. That's enough

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Speaker 5: to cure you about debt.

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Speaker 6: No.

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Speaker 2: Then he did a gunfight with Kirk Douglas and he

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Speaker 2: did several things and he really enjoyed it.

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Speaker 1: Yeah, when you get the call you're working with your dad?

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Speaker 1: When does the moment come when you were invited to

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Speaker 1: come and sing back up?

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Speaker 5: And then you're going to do it? So who brings

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Speaker 5: that information to you? Who tells you?

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Speaker 2: Dad?

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Speaker 5: He does?

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Speaker 2: Yeah, he said, why don't you girls? I was out

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Speaker 2: with my stepsister or June's daughter. Why don't you girls

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Speaker 2: just come out on the last song and just sing

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Speaker 2: back up on you know, willis Circle being broken or whatever?

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Speaker 2: It was, Okay, we go out, we're terrified and shaking.

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Speaker 2: And then I was writing songs, you know, and then

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Speaker 2: he said, well, why don't you come out and do

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Speaker 2: one of your songs, And that's how it started. I

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Speaker 2: remember doing this in Prague when it was still behind

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Speaker 2: the Iron Curtain, played twenty thousand people. I remember going

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Speaker 2: out and singing a couple of songs in that show.

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Speaker 2: That was an experience.

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Speaker 1: Is it fair to say at all that because it's

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Speaker 1: easy when you have a father who's your father to

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Speaker 1: overlook the contributions of your mother in terms of your

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Speaker 1: career as well.

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Speaker 5: Was your mother influential in the work you did.

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Speaker 2: That's a really good question, and not many people ask it.

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Speaker 2: My mother was so private and it hated the glare

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Speaker 2: of fame. Hated it was always afraid we kids were

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Speaker 2: going to be kidnapped because dad was so famous, you know.

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Speaker 2: She was a little tortured by it. And when I

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Speaker 2: went started writing songs and performing, oh my god, she

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Speaker 2: was terrified, you know, because her template was you get famous,

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Speaker 2: and then you get divorced and you get on drugs

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Speaker 2: and it's a horrible life. And also she taught me discipline.

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Speaker 2: You know, the discipline I have as a writer and

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Speaker 2: as a mother in my house is because of her.

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Speaker 1: Now, when your father gets remarried and you talked about

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Speaker 1: you and your stepsister getting into the biz, June's daughter

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Speaker 1: was June someone who had any kind of influence on you,

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Speaker 1: was she a kind and nurturing woman.

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Speaker 2: She had a tremendous influence on me. She was basically crazy, right,

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Speaker 2: And she had been on stage virtually her entire life

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Speaker 2: since early child. So being on stage there was no

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Speaker 2: glamour to it. It was just a job. It was

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Speaker 2: just part of life, like you know, anything like having breakfast.

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Speaker 2: She could be having a conversation with you standing in

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Speaker 2: the wings. Hear her cue walk on stage as she's

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Speaker 2: still talking over her shoulder. Do her gig come off,

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Speaker 2: pick up the conversation right where she left it, you know,

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Speaker 2: and her bag of her shoes and her bag of

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Speaker 2: girdles and her bag of makeup in the dressing room

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Speaker 2: and then just gossip, gossip, gossip with their sisters and

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Speaker 2: then go out and do the show. It was. There

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Speaker 2: was no separation between performance and life for her. But

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Speaker 2: what I learned from her is just the assumption of

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Speaker 2: a certain kind of power and authenticity when you were performing.

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Speaker 2: She told me the greatest story. She was on one

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Speaker 2: of those package tours in the South back then in

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Speaker 2: the fifties and sixties, they had package stores of a

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Speaker 2: lot of country acts, and you would they would travel

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Speaker 2: around together and do these shows, multi artist shows. Well,

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Speaker 2: they're in one place in West Virginia or someplace, and

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Speaker 2: the banjo player for the band that was supposed to

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Speaker 2: go on before her, before the Carter family didn't show up.

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Speaker 2: So the lead singer in the band is freaking out.

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Speaker 2: He's going does anybody play the banjo? Does anybody play

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Speaker 2: the banjo? And June says, I play the banjo, and

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Speaker 2: she walks out and she does the show with them,

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Speaker 2: plays the banjo through it. And she told me the story,

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Speaker 2: and she said, in Honey, I had never played the

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Speaker 2: banjo in my life.

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Speaker 5: My god, the nerve.

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Speaker 2: Yeah, I said, how did you do that? She said, well, Honey,

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Speaker 2: when I walked on stage, I knew how to play

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Speaker 2: the banjo. That has stayed with me. My whole life's

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Speaker 2: so fun. When you walk on stage, you'll.

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Speaker 1: Know Roseanne Cash. If you enjoy conversations with brilliant female

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Speaker 1: singer songwriters, check on my episode with Carly Simon. A

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Speaker 1: little over fifty years ago, a show at the Troubadour

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Speaker 1: changed her life.

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Speaker 6: Three of us rehearsed in New York for three days,

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Speaker 6: and then we went out to LA And by that

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Speaker 6: time I had opened for Cats Team open for katste

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Speaker 6: something in the sixth nineteen seventy one.

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Speaker 5: April sixth, Yes, and that changed things for you.

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Speaker 6: That was That was a convincing night. We played two

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Speaker 6: shows every night and four shows on the weekend. I

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Speaker 6: met all kinds of people. It was like the lights

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Speaker 6: you were shining on me.

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Speaker 5: I'll you're it.

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Speaker 6: I couldn't say no at that point. And I and

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Speaker 6: even though I was suffering tremendus stage fright, I had

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Speaker 6: various things that tricked me out of being afraid.

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Speaker 1: To hear more of my conversation with Carly Simon go

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Speaker 1: to Here's the Thing dot Org. After the break, Roseanne

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Speaker 1: Cash tells us about the Broadway Bound musical that she

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Speaker 1: spent years writing and what that work means.

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Speaker 5: To her I'm Alec Baldwin, and you're listening to Here's

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Speaker 5: the Thing and lou.

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Speaker 3: And the Frame in all Songs and Louie And.

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Speaker 1: That is the newly remastered version of The Wheel, the

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Speaker 1: title track from Roseanne Cash's nineteen ninety three album. I

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Speaker 1: wanted to know what led Cash to re release the landmark.

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Speaker 2: Recording, so my album, The Wheel. It's the thirtieth anniversary.

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Speaker 2: I just got my master's back from Sony after thirty years.

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Speaker 2: There was a thirty year reversion claw us, and I

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Speaker 2: didn't expect how that would feel to own my master

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Speaker 2: to this album, and it was like a spiritual experience, like, Wow,

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Speaker 2: this is mine. It's not part of a multinational corporation anymore.

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Speaker 2: And it had never been released on vinyl. In ninety three,

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Speaker 2: nobody was pressing vinyl, and so John and I started

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Speaker 2: a record label, Rumble Strip Records, and the first release

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Speaker 2: is going to be this remastered thirtieth anniversary edition of

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Speaker 2: The Wheel. I wrote new liner notes for it, double

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Speaker 2: vinyl with a live performance from ninety three. And I

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Speaker 2: don't generally like looking back at my old work. You know,

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Speaker 2: I'm still really excited about what's coming up. But I

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Speaker 2: feel like this was a watershed moment in my life.

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Speaker 2: It's the first album John and I made together. We

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Speaker 2: fell in love making that record, ended up getting married.

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Speaker 2: And the songs are intense. They're about transformation and I'm

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Speaker 2: proud of it. And some of it sounds dated. Some

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Speaker 2: might go, oh my god, I wish I had sung

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Speaker 2: that better, and yet it captured a real moment and time,

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Speaker 2: like you said, the truth, and I'm proud to be

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Speaker 2: re releasing it for people.

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Speaker 1: Who don't know. One assumes that a lot of that

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Speaker 1: is on a technical side. They're going to sweeten the

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Speaker 1: sound and they're going to get computers in there to

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Speaker 1: make it sound even better than ever. Is that what

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Speaker 1: you do? Do you other than the liner notes and

401
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Speaker 1: so forth? Do you really hand this over to somebody

402
00:21:31,680 --> 00:21:35,160
Speaker 1: to enhance the sound technically and there's not much else

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Speaker 1: for you to do.

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00:21:36,359 --> 00:21:41,160
Speaker 2: No, I wouldn't say enhance as much as just in remastering.

405
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Speaker 2: You know, they might modernize it in some way, like

406
00:21:44,160 --> 00:21:47,520
Speaker 2: there might be too much highs on one track that

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Speaker 2: they just bring down slightly. So it's not so much

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Speaker 2: enhancement as just kind of bringing it to the future

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Speaker 2: to the present rather right.

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Speaker 5: When you record and you sing.

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Speaker 1: I mean, I don't mean to sound weirdly technically here,

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Speaker 1: but do you sit on a steward?

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Speaker 5: Do you feel you have to stand in order to sing?

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Speaker 2: I like weirdly technical questions. By the way, no I

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Speaker 2: stand what I'm singing. I don't like disquish my diaphragm.

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Speaker 5: You don't. And who did you have any training as

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Speaker 5: a singer? Do you have any train you?

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Speaker 2: I did. I studied with a few people. And do

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00:22:17,400 --> 00:22:23,879
Speaker 2: you know technical stuff? Breath control, vibrato, you know, preserving energy,

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Speaker 2: opening your chest, placement in the either the palette or

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00:22:27,800 --> 00:22:29,800
Speaker 2: the back of the throat for different tones, you know,

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Speaker 2: really technical.

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Speaker 5: Stuff in New York, La London? Where New York? In

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Speaker 5: New York, m H. I took singing lessons.

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Speaker 1: Once I was at a party and Cameron McIntosh was there,

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Speaker 1: and Cameron McIntosh said to me, mister Baldwin, I'm producing

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Speaker 1: a Broadway musical based on the Witches of Eastwick, and

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Speaker 1: I would like you to come in and meet with

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Speaker 1: my producers and my designers and so forth, and my

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Speaker 1: vocal people. And have you considered playing the role of

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Speaker 1: the lead that Jack Nicholson assayed in the film. We're

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Speaker 1: in front of all these people at this big event,

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Speaker 1: and I said, I'm really sorry.

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Speaker 5: I don't sing.

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Speaker 1: He said, nonsense, mister Boldwin. He said, you can be

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Speaker 1: trained to sing. He said, anyone can sing with the

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Speaker 1: proper training. He said, I want you to come and

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Speaker 1: meet my man, John Lyons. I want you to come

439
00:23:16,600 --> 00:23:19,159
Speaker 1: and speak to John, and he's going to work with you.

440
00:23:19,200 --> 00:23:21,320
Speaker 1: I said, you don't understand, man. I mean, I really

441
00:23:21,359 --> 00:23:23,399
Speaker 1: can't sing. I'd love to have the soul of a singer,

442
00:23:23,760 --> 00:23:26,240
Speaker 1: but my voice is just in shreds. It's like sandpaper.

443
00:23:26,400 --> 00:23:29,399
Speaker 1: He said, Visa Bowen please. He was almost looking at

444
00:23:29,400 --> 00:23:33,000
Speaker 1: me like, I'm Cameron Macintosh, you idiot. I wouldn't waste

445
00:23:33,000 --> 00:23:35,160
Speaker 1: my time or yours with this suggestion of I don't

446
00:23:35,160 --> 00:23:37,440
Speaker 1: think it was possible. And he said, please go see John.

447
00:23:37,600 --> 00:23:40,840
Speaker 5: Thank you. So I go. We go somewhere near the

448
00:23:40,840 --> 00:23:41,720
Speaker 5: Antsnia you.

449
00:23:41,960 --> 00:23:44,480
Speaker 1: Like a lot of dance classes and rehearsal studios, and

450
00:23:44,520 --> 00:23:46,280
Speaker 1: I go to this guy's apartment. He's got the piano

451
00:23:46,320 --> 00:23:47,840
Speaker 1: there and we sing. He goes, I want you to

452
00:23:47,880 --> 00:23:51,080
Speaker 1: prepare two songs, something up tempo and something like a ballad,

453
00:23:51,119 --> 00:23:54,360
Speaker 1: and ira I sing, Come fly with me the Frank

454
00:23:54,400 --> 00:23:56,440
Speaker 1: sit outter, So come fly with me. And I said,

455
00:23:56,520 --> 00:23:59,560
Speaker 1: come fly with me, but and I sing this song

456
00:23:59,600 --> 00:24:01,399
Speaker 1: and he goes, let's talk now. I want you to

457
00:24:01,480 --> 00:24:03,480
Speaker 1: do this and try to try to do this. And I,

458
00:24:03,920 --> 00:24:06,679
Speaker 1: after like my fourth or fifth round of doing singing

459
00:24:06,680 --> 00:24:09,399
Speaker 1: the song, he stops. He goes, mister Bolwen, you're correct.

460
00:24:09,760 --> 00:24:18,320
Speaker 1: You can't sing. Look my god, it said. That was

461
00:24:18,359 --> 00:24:21,159
Speaker 1: like they shot me and wrapped me in plastic like

462
00:24:21,160 --> 00:24:22,440
Speaker 1: in the Sopranos and threw me.

463
00:24:22,400 --> 00:24:25,119
Speaker 5: In the ocean. Like my career was over, was dead.

464
00:24:25,640 --> 00:24:26,719
Speaker 5: It was dead dead.

465
00:24:27,040 --> 00:24:30,679
Speaker 2: I'm impressed you to try it. One one singing teacher

466
00:24:30,760 --> 00:24:32,760
Speaker 2: I had or one voice. He was actually a voice

467
00:24:32,880 --> 00:24:35,720
Speaker 2: vocal therapist because I had polyps a couple of times

468
00:24:36,080 --> 00:24:39,000
Speaker 2: and lost my voice and had to go on vocal

469
00:24:39,080 --> 00:24:41,760
Speaker 2: rest for months and steroids and blah blah blah, and

470
00:24:41,840 --> 00:24:44,040
Speaker 2: at the end, you know, your voice has kind of

471
00:24:44,080 --> 00:24:47,120
Speaker 2: fallen apart at the end of having polyps and has

472
00:24:47,160 --> 00:24:52,359
Speaker 2: to be literally rebuilt. And so Bill Riley, who's a

473
00:24:53,080 --> 00:24:56,919
Speaker 2: big guy in town. He he helped me rebuild my voice.

474
00:24:56,960 --> 00:25:00,720
Speaker 2: And Shirley Tennyson also helped me rebuild my voice. And

475
00:25:01,040 --> 00:25:03,840
Speaker 2: he told me that he could tell if someone could

476
00:25:03,840 --> 00:25:08,080
Speaker 2: sing by looking at their facial structure. Really, yeah, I

477
00:25:08,119 --> 00:25:13,240
Speaker 2: think he meant something about where the cheekbones are sitting

478
00:25:14,000 --> 00:25:15,200
Speaker 2: or anchored.

479
00:25:15,440 --> 00:25:18,880
Speaker 5: Like are the baffles and the chambers always? Are they there?

480
00:25:19,000 --> 00:25:19,879
Speaker 5: Are they in there?

481
00:25:20,440 --> 00:25:23,280
Speaker 2: Maybe? But it's also about looking at the well of

482
00:25:23,400 --> 00:25:28,160
Speaker 2: the larynx too. He told me that Pavarotti had a

483
00:25:28,240 --> 00:25:31,440
Speaker 2: larynx like the well inside where his vocal cords are

484
00:25:31,800 --> 00:25:35,800
Speaker 2: looked like no one else's that had ever been, you know,

485
00:25:36,080 --> 00:25:38,200
Speaker 2: whatever they put down there to look at him.

486
00:25:38,800 --> 00:25:41,560
Speaker 5: Now, I'm told you're working on a musical.

487
00:25:41,680 --> 00:25:42,240
Speaker 2: A musical.

488
00:25:42,480 --> 00:25:43,640
Speaker 5: Yeah, whose idea was that?

489
00:25:44,280 --> 00:25:48,520
Speaker 2: It was John Widman who wrote Assassins. He wrote the

490
00:25:48,520 --> 00:25:49,400
Speaker 2: book for Assassins.

491
00:25:49,480 --> 00:25:53,639
Speaker 1: Rather my God, I worship John Widman, so do I

492
00:25:53,880 --> 00:25:57,040
Speaker 1: I think Assassins is. I mean, Assassins is something I

493
00:25:57,040 --> 00:25:59,520
Speaker 1: can never stop listening to, just for the lyrics.

494
00:26:00,119 --> 00:26:04,160
Speaker 2: John is so special. Yeah. Well Sondheim's so special too,

495
00:26:04,119 --> 00:26:04,359
Speaker 2: a bit.

496
00:26:04,560 --> 00:26:06,480
Speaker 5: Yeah, the two of them together are special.

497
00:26:06,680 --> 00:26:09,399
Speaker 2: Yeah, no kidding. So he wrote the book for the

498
00:26:09,480 --> 00:26:14,760
Speaker 2: musical I'm doing, which is Norma Ray. So I'm the lyricist.

499
00:26:14,960 --> 00:26:19,600
Speaker 2: John Lebenthal's the composer. John Wibman's the book writer, and

500
00:26:19,680 --> 00:26:22,400
Speaker 2: we've been working on it about six years. We've had

501
00:26:22,440 --> 00:26:27,480
Speaker 2: two workshops and some rewrites, and we have a theater interested.

502
00:26:27,560 --> 00:26:31,480
Speaker 2: So I'm hoping fall twenty twenty four. I hope we'll

503
00:26:31,480 --> 00:26:32,200
Speaker 2: get it staged.

504
00:26:32,840 --> 00:26:35,199
Speaker 1: Why did that material appeal to you? I mean, it

505
00:26:35,240 --> 00:26:36,800
Speaker 1: was a hit movie, but why beyond that?

506
00:26:37,080 --> 00:26:40,399
Speaker 2: Well, several levels. It's set in North Carolina, So the

507
00:26:40,440 --> 00:26:47,639
Speaker 2: idea of bringing this kind of genre bending Appellationian Sondheimish

508
00:26:48,240 --> 00:26:52,520
Speaker 2: musical hybrid together was a fascinating idea. And I got

509
00:26:52,560 --> 00:26:55,720
Speaker 2: to say John lebenthalt Man, he knocked it out of

510
00:26:55,760 --> 00:26:58,760
Speaker 2: the park. It's the music is so great, and also

511
00:26:59,000 --> 00:27:02,000
Speaker 2: for me as lyricist writing and the voice of other

512
00:27:02,119 --> 00:27:07,040
Speaker 2: characters that was such a thrill, such a challenge. And

513
00:27:07,080 --> 00:27:11,040
Speaker 2: also the story. You know, it's like a union organizing,

514
00:27:11,080 --> 00:27:13,399
Speaker 2: which is so timely, but also at the center of

515
00:27:13,400 --> 00:27:19,960
Speaker 2: this this woman's transformation through helping her community, also so timely.

516
00:27:20,800 --> 00:27:23,199
Speaker 2: So it kind of checked all the boxes. In the

517
00:27:23,240 --> 00:27:25,760
Speaker 2: first two years I said, I'm never doing this again.

518
00:27:25,800 --> 00:27:29,440
Speaker 2: I hate this, And in the last the last four years,

519
00:27:29,480 --> 00:27:31,120
Speaker 2: I said, I absolutely love it.

520
00:27:31,520 --> 00:27:32,679
Speaker 5: What was daunting for you?

521
00:27:33,440 --> 00:27:36,119
Speaker 2: Well, writing in the voice of characters who I didn't

522
00:27:36,119 --> 00:27:39,600
Speaker 2: have any experience with, who I didn't know. You know,

523
00:27:39,680 --> 00:27:43,639
Speaker 2: an older man working in a textile mill in North

524
00:27:43,680 --> 00:27:47,600
Speaker 2: Carolina in the seventies. How do I find his voice

525
00:27:47,880 --> 00:27:52,400
Speaker 2: and his sense of poetry? It's not mine, you know?

526
00:27:52,600 --> 00:27:55,080
Speaker 2: But who is he that? And that ended up being

527
00:27:56,040 --> 00:28:01,600
Speaker 2: really I don't know. It touches your empathy going from

528
00:28:01,640 --> 00:28:05,320
Speaker 2: there into their sense of poetry and their experience. It's

529
00:28:05,359 --> 00:28:06,600
Speaker 2: been uplifting for me.

530
00:28:07,920 --> 00:28:09,840
Speaker 1: How familiar were we with the film? Did you have

531
00:28:09,840 --> 00:28:11,199
Speaker 1: to go back and watch the film or did you

532
00:28:11,240 --> 00:28:12,240
Speaker 1: not want to watch the film?

533
00:28:12,440 --> 00:28:12,919
Speaker 5: Norma Ray?

534
00:28:13,400 --> 00:28:16,879
Speaker 2: Yes, No, I was familiar with the film already, but yes,

535
00:28:17,280 --> 00:28:19,760
Speaker 2: I went back and watched it again. Not only that,

536
00:28:19,880 --> 00:28:23,080
Speaker 2: I did some research about textile mills in the South

537
00:28:23,640 --> 00:28:27,879
Speaker 2: and what happened to them, and race relations in the

538
00:28:27,920 --> 00:28:32,600
Speaker 2: South in the mills and union organizing, and it was fascinating.

539
00:28:32,640 --> 00:28:35,639
Speaker 2: I have a friend in Alabama who took over an

540
00:28:35,720 --> 00:28:41,200
Speaker 2: abandoned textile mill to create her own bespoke factory of

541
00:28:41,320 --> 00:28:45,640
Speaker 2: handmade items of handmade clothing and hired all of these

542
00:28:45,640 --> 00:28:48,480
Speaker 2: women who had worked at the textile mills and lost

543
00:28:48,480 --> 00:28:52,480
Speaker 2: their jobs after NAFTA, and so her mission was kind

544
00:28:52,480 --> 00:28:54,760
Speaker 2: of in my mind thinking about all of this, and

545
00:28:55,240 --> 00:28:57,440
Speaker 2: you know, and the sadness of the guy coming down

546
00:28:57,520 --> 00:29:00,200
Speaker 2: from New York to help me organize the union and

547
00:29:00,280 --> 00:29:04,680
Speaker 2: it happening, and then the textile mills all close later on.

548
00:29:05,640 --> 00:29:07,760
Speaker 1: Well when you see this is my opinion, but when

549
00:29:07,800 --> 00:29:11,480
Speaker 1: you see dramas or musicals, whatever, let's stick to dramas

550
00:29:12,440 --> 00:29:15,960
Speaker 1: that are on stage that are adapted to film, whether

551
00:29:16,000 --> 00:29:19,040
Speaker 1: it's a cat or hut and roof or streetcar or

552
00:29:19,120 --> 00:29:20,480
Speaker 1: things like that.

553
00:29:20,480 --> 00:29:23,480
Speaker 5: That seems less dicey.

554
00:29:23,760 --> 00:29:25,280
Speaker 1: You know, you're going to go open it up, and

555
00:29:25,320 --> 00:29:27,440
Speaker 1: you're going to put the camera where you want to,

556
00:29:27,480 --> 00:29:29,560
Speaker 1: when you're going to bring all the cinematics that you

557
00:29:29,600 --> 00:29:30,320
Speaker 1: want to bring to it.

558
00:29:30,680 --> 00:29:34,320
Speaker 2: I mean, I think that in general, it's better when

559
00:29:34,360 --> 00:29:37,760
Speaker 2: it goes with stage discreen than the reverse and on

560
00:29:37,880 --> 00:29:41,480
Speaker 2: Broadway a lot now or you know, are these disneyfications

561
00:29:41,600 --> 00:29:44,239
Speaker 2: of films and stuff, which is, you know, it's like

562
00:29:44,280 --> 00:29:46,280
Speaker 2: a ride at an amusement park or something. And I

563
00:29:46,400 --> 00:29:50,040
Speaker 2: get the appeal of that, but I like something that's

564
00:29:50,080 --> 00:29:52,720
Speaker 2: taken seriously. I don't know why I was thinking about

565
00:29:52,760 --> 00:29:56,320
Speaker 2: the dresser when you were talking about that. God, oh

566
00:29:56,400 --> 00:29:59,240
Speaker 2: my god, and they kept it as if it's a

567
00:29:59,280 --> 00:30:02,680
Speaker 2: stage play, you know, with Anthony Hopkins and Ian mccollins.

568
00:30:02,720 --> 00:30:04,280
Speaker 2: It was so wonderful.

569
00:30:04,920 --> 00:30:06,680
Speaker 5: I can't believe you mentioned that, because I just did

570
00:30:06,680 --> 00:30:08,120
Speaker 5: a reading of that play the other day.

571
00:30:08,240 --> 00:30:10,040
Speaker 2: Did you really are you going to do it?

572
00:30:10,520 --> 00:30:12,560
Speaker 1: Well, A group of us were on Long Island, some

573
00:30:12,600 --> 00:30:15,160
Speaker 1: friends of mine who live out there out east, and

574
00:30:15,200 --> 00:30:17,000
Speaker 1: we decided we just wanted to read a play, and

575
00:30:17,000 --> 00:30:19,440
Speaker 1: we had a couple of ideas and this was one

576
00:30:19,440 --> 00:30:20,960
Speaker 1: of them. So we did a reading a bunch of

577
00:30:21,040 --> 00:30:22,640
Speaker 1: us and it was really a thrill, you know. I mean,

578
00:30:22,640 --> 00:30:26,520
Speaker 1: it's not much different from the movie, but there's another

579
00:30:26,720 --> 00:30:29,040
Speaker 1: situation where, I mean, I'm somebody who's.

580
00:30:28,760 --> 00:30:33,440
Speaker 5: Not immune to being overwhelmed by other people's work.

581
00:30:33,920 --> 00:30:36,080
Speaker 1: Me too, And I must say that there are a

582
00:30:36,160 --> 00:30:39,400
Speaker 1: few things in cinema that I find more powerful and

583
00:30:39,440 --> 00:30:42,560
Speaker 1: more overwhelming than Finny in that movie. But when you

584
00:30:42,640 --> 00:30:45,480
Speaker 1: do something it's like, I'm sure you're the same way

585
00:30:45,520 --> 00:30:47,880
Speaker 1: with Norma Ray. You got to realize you're doing it

586
00:30:47,920 --> 00:30:48,520
Speaker 1: for yourself.

587
00:30:49,080 --> 00:30:53,240
Speaker 2: Absolutely, But it's that way for everything every record I make.

588
00:30:54,000 --> 00:30:56,400
Speaker 2: If I get out of myself and try to go

589
00:30:56,800 --> 00:31:00,440
Speaker 2: what will please people, it's death. You know, it just

590
00:31:00,440 --> 00:31:03,320
Speaker 2: destroyed and takes all the life out of it if

591
00:31:03,360 --> 00:31:05,920
Speaker 2: you try to copy the marketplace or try to please

592
00:31:05,920 --> 00:31:08,240
Speaker 2: too much. I think Dylan said that once that people

593
00:31:08,320 --> 00:31:11,480
Speaker 2: pleasing was death to an artist, and I believe it.

594
00:31:11,600 --> 00:31:13,640
Speaker 5: Self consciousness is death to an artist death.

595
00:31:13,680 --> 00:31:16,600
Speaker 2: I believe yes, self consciousness. That's even a better way

596
00:31:16,640 --> 00:31:17,080
Speaker 2: to see it.

597
00:31:20,600 --> 00:31:26,040
Speaker 1: Singer songwriter Roseanne Cash, if you're enjoying this episode, don't

598
00:31:26,120 --> 00:31:29,280
Speaker 1: keep it to yourself. Tell a friend and be sure

599
00:31:29,360 --> 00:31:33,440
Speaker 1: to follow us on the iHeartRadio app, Apple podcasts, or

600
00:31:33,840 --> 00:31:39,000
Speaker 1: wherever you get your podcasts. When we return, Roseanne Cash

601
00:31:39,120 --> 00:31:43,280
Speaker 1: shares how writing her memoir helped reclaim her family story

602
00:31:43,760 --> 00:31:44,880
Speaker 1: and her own.

603
00:31:49,560 --> 00:31:57,320
Speaker 3: See yes stands.

604
00:31:56,840 --> 00:31:59,840
Speaker 2: True Even when.

605
00:32:11,840 --> 00:32:16,400
Speaker 1: I'm Alec Baldwin and this is here's the thing in.

606
00:32:16,080 --> 00:32:23,440
Speaker 5: The shadows, link and burn away the lasts.

607
00:32:25,320 --> 00:32:32,080
Speaker 4: They will fly me live and jel to a place

608
00:32:33,480 --> 00:32:40,800
Speaker 4: where I can risk when this begins, I'll let you.

609
00:32:42,720 --> 00:32:43,320
Speaker 5: September.

610
00:32:48,680 --> 00:32:52,840
Speaker 1: This is Roseanne Cash duetting with her father, Johnny Cash

611
00:32:53,040 --> 00:32:56,760
Speaker 1: on September when it comes off her two thousand and

612
00:32:56,800 --> 00:32:58,680
Speaker 1: three album Rules of Travel.

613
00:32:59,760 --> 00:33:00,200
Speaker 5: Music.

614
00:33:00,400 --> 00:33:04,560
Speaker 1: Talent seems to be passed down among the Cashes. Roseanne

615
00:33:04,600 --> 00:33:08,120
Speaker 1: Cash has five children, three with her first husband, one

616
00:33:08,160 --> 00:33:12,160
Speaker 1: with her second, and a stepchild. Some have even followed

617
00:33:12,200 --> 00:33:15,800
Speaker 1: her into the family business. I wanted to know how

618
00:33:15,880 --> 00:33:19,160
Speaker 1: Cash managed going on the road when she was raising

619
00:33:19,160 --> 00:33:19,760
Speaker 1: her children.

620
00:33:20,520 --> 00:33:23,080
Speaker 2: It was less important than raising the babies. I have

621
00:33:23,160 --> 00:33:26,960
Speaker 2: to say, I toured less than everyone else around me,

622
00:33:27,000 --> 00:33:29,800
Speaker 2: and it was a constant source of, you know, angst

623
00:33:29,840 --> 00:33:33,680
Speaker 2: for my manager, because I just I have a really

624
00:33:33,720 --> 00:33:37,360
Speaker 2: healthy alarm system about what's too much and what's not enough,

625
00:33:37,480 --> 00:33:40,280
Speaker 2: you know, as far as kids, as far as my

626
00:33:40,400 --> 00:33:43,920
Speaker 2: private life and being home. And I have no illusions

627
00:33:43,920 --> 00:33:47,880
Speaker 2: about the glamor of the life I lead to know.

628
00:33:48,200 --> 00:33:50,320
Speaker 2: I mean, I saw that first hand with my dad.

629
00:33:50,880 --> 00:33:56,200
Speaker 2: It's like, it's hard work, it's not glamorous. And I

630
00:33:56,240 --> 00:33:59,520
Speaker 2: wanted to be there for the parent teacher meetings and

631
00:33:59,560 --> 00:34:00,080
Speaker 2: the play.

632
00:34:01,080 --> 00:34:04,200
Speaker 1: So I made sure I was now two more things

633
00:34:04,240 --> 00:34:05,880
Speaker 1: in the time we have left. So you've written a

634
00:34:05,960 --> 00:34:08,920
Speaker 1: memoir correct, yes? And what was that process like for

635
00:34:08,960 --> 00:34:10,320
Speaker 1: you As a creative person.

636
00:34:11,160 --> 00:34:14,879
Speaker 2: I love writing, or, as Lillian Hellman said, I love

637
00:34:14,960 --> 00:34:21,640
Speaker 2: having written. My family story and my own story had

638
00:34:21,719 --> 00:34:25,799
Speaker 2: been co opted by the public in such perverse and

639
00:34:26,280 --> 00:34:30,480
Speaker 2: diverse ways over so many decades that I finally thought,

640
00:34:30,960 --> 00:34:34,160
Speaker 2: if I don't tell my story, at least plant my

641
00:34:34,200 --> 00:34:37,640
Speaker 2: flag and tell my story, then it will just keep

642
00:34:37,680 --> 00:34:40,040
Speaker 2: getting co opted. And even if it is, at least

643
00:34:40,080 --> 00:34:42,360
Speaker 2: I've said it. So that's why I wrote a memoir.

644
00:34:42,400 --> 00:34:44,280
Speaker 2: I thought I was too young to write a memoir

645
00:34:44,320 --> 00:34:46,800
Speaker 2: in twenty ten, but you know, I could write a

646
00:34:46,880 --> 00:34:51,560
Speaker 2: second volume. And I constructed it in a way like

647
00:34:51,680 --> 00:34:57,400
Speaker 2: Bob Dylan's Chronicles in that it wasn't completely chronological. That

648
00:34:57,680 --> 00:35:01,399
Speaker 2: it was about reappearing patterns of my life and how

649
00:35:01,560 --> 00:35:05,840
Speaker 2: songs were attached to them and anchored those different eras

650
00:35:05,840 --> 00:35:09,160
Speaker 2: and patterns in my life. And you know, it was

651
00:35:09,400 --> 00:35:15,320
Speaker 2: a self organizing principle too. I realized many things about

652
00:35:15,320 --> 00:35:17,799
Speaker 2: my life that I hadn't by writing about it.

653
00:35:18,280 --> 00:35:20,759
Speaker 5: Do you listen to much contemporary music right now? I

654
00:35:20,840 --> 00:35:21,719
Speaker 5: do you do.

655
00:35:21,880 --> 00:35:25,560
Speaker 2: I got obsessed with this Billie Eilish song she wrote

656
00:35:25,560 --> 00:35:28,480
Speaker 2: for Barbie. Oh my God, one of the most beautiful

657
00:35:28,480 --> 00:35:29,640
Speaker 2: songs I've heard this year.

658
00:35:29,800 --> 00:35:30,960
Speaker 5: Oh wow, that's amazing.

659
00:35:31,080 --> 00:35:34,680
Speaker 2: And my son is a record producer. He's almost twenty five.

660
00:35:35,200 --> 00:35:38,080
Speaker 2: He produces a lot of indie bands and indie artists.

661
00:35:38,160 --> 00:35:41,640
Speaker 2: You know, he's in Brooklyn, and so I hear some

662
00:35:41,680 --> 00:35:44,560
Speaker 2: of the people that he's producing, and I'm interested in them.

663
00:35:44,640 --> 00:35:48,400
Speaker 2: And I love kids, I do. I love young people

664
00:35:48,600 --> 00:35:48,960
Speaker 2: me too.

665
00:35:49,440 --> 00:35:53,480
Speaker 1: Yeah, you know my sense of your career, of your work.

666
00:35:54,120 --> 00:35:57,760
Speaker 1: You're writing this Normal Ray thing, and you talk about

667
00:35:57,880 --> 00:36:01,800
Speaker 1: possibly another volume of something by I mean, I'm saying

668
00:36:01,800 --> 00:36:03,680
Speaker 1: this because I truly believe this, you know. I mean,

669
00:36:03,760 --> 00:36:07,120
Speaker 1: I always find I was blown away when Springsteen went

670
00:36:07,160 --> 00:36:07,800
Speaker 1: on Broadway.

671
00:36:08,120 --> 00:36:08,319
Speaker 5: Yeah.

672
00:36:08,360 --> 00:36:10,279
Speaker 2: I loved that show, loved.

673
00:36:10,000 --> 00:36:12,200
Speaker 1: It, and one was something you could do, that kind

674
00:36:12,200 --> 00:36:15,440
Speaker 1: of show. And we'll keep our eyes peeled for Normal Ray.

675
00:36:15,480 --> 00:36:17,879
Speaker 1: That sounds thrilling to me. Thank you, and how lucky

676
00:36:17,880 --> 00:36:18,560
Speaker 1: they are to have you.

677
00:36:18,719 --> 00:36:21,000
Speaker 2: Thanks Alec. It's so good to speak to you finally,

678
00:36:21,000 --> 00:36:24,319
Speaker 2: because I have admired you for so long that it

679
00:36:24,360 --> 00:36:26,239
Speaker 2: was such a joy to get to speak with you.

680
00:36:26,440 --> 00:36:27,359
Speaker 5: Thank you you too.

681
00:36:31,200 --> 00:36:35,960
Speaker 1: My thanks to Roseanne Cash. Catcher at City Winery in

682
00:36:36,200 --> 00:36:39,360
Speaker 1: New York City on November twenty eighth and twenty ninth,

683
00:36:39,760 --> 00:36:43,919
Speaker 1: touring in support of the thirtieth anniversary of The Wheel.

684
00:36:44,120 --> 00:36:48,320
Speaker 1: You can find additional tour dates at Roseannecash dot com.

685
00:36:49,200 --> 00:36:52,960
Speaker 1: I'll leave you with Roseanne Cash's Blue Moon with Heartache

686
00:36:53,280 --> 00:36:57,319
Speaker 1: from the nineteen eighty one album seven year ag I'm

687
00:36:57,320 --> 00:36:59,839
Speaker 1: Alec Baldwin. Here's the thing is brought to you by

688
00:37:00,040 --> 00:37:03,400
Speaker 1: my Heart Radio. What would I.

689
00:37:05,600 --> 00:37:12,239
Speaker 5: To be a time and in your eyes again? What

690
00:37:12,719 --> 00:37:22,799
Speaker 5: would I to bring back those old child? What did

691
00:37:22,960 --> 00:37:24,400
Speaker 5: I say.

692
00:37:25,680 --> 00:37:34,120
Speaker 3: Make your glass turn off this way? Maybe I'll school

693
00:37:34,320 --> 00:37:36,240
Speaker 3: awaits today.

694
00:37:36,680 --> 00:37:42,000
Speaker 5: Baby, On to school away, baby,