WEBVTT - John Ondrasik

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<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Left Sets podcast.

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<v Speaker 1>My guest today is John Drastic, otherwise known as five

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<v Speaker 1>for Fighting. John. Why five for Fighting?

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<v Speaker 2>Well? When EMI Records back in the day wanted to

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<v Speaker 2>launch my record, it was the age of lilleth Fair

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<v Speaker 2>boy band's grunge music. The male singer songwriter was dead

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<v Speaker 2>and they said, John, we need a band name. As

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<v Speaker 2>a hockey fan, I had just been to a hockey

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<v Speaker 2>game and there are a couple of fights by a

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<v Speaker 2>guy named Marty McSorley, who was Wayne Gretzky's bodyguard. And

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<v Speaker 2>in hockey, of course, if you get in a fight,

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<v Speaker 2>you get five minutes for fighting a penalty. And so

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<v Speaker 2>when the record company said we need a band name,

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<v Speaker 2>I sarcastically said, well, how about five for Fighting, expecting

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<v Speaker 2>them to hate it, Bob, and of course I said,

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<v Speaker 2>we love it, and here I am twenty years later.

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<v Speaker 2>Five for Fighting sounds like I should be opening for Metallica.

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<v Speaker 2>But I do get a hockey ticket whenever I tend

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<v Speaker 2>to want one, so it has had some fringe benefits.

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<v Speaker 1>Okay, we have the example of Johnny Cougar, John Mellen

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<v Speaker 1>camp Or ultimately evolved into using his own name. Is

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<v Speaker 1>this something that you would like to achieve?

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<v Speaker 2>I think it's way too late for that, And, you know,

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<v Speaker 2>to be honest with you, it's been kind of nice

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<v Speaker 2>because it's really been about the music. There's certainly, I

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<v Speaker 2>think a disconnect between some of the songs and the

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<v Speaker 2>five for Fighting brand and the fact that it's not

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<v Speaker 2>a band, it's a guy. It probably cost the record

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<v Speaker 2>company a million records, but it's allowed me to kind

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<v Speaker 2>of just kind of slip under the radar, and frankly,

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<v Speaker 2>as a huge sports fan, I've also been able to

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<v Speaker 2>play you know, Monday night football, all Star games, you know,

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<v Speaker 2>outdoor hockey games, you know baseball, you know, championship games.

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<v Speaker 2>And that doesn't happen with John and Rassic. I think

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<v Speaker 2>Fire for Fighting sounds a little more, you know, you know, cliche,

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<v Speaker 2>to give you some some umph to it. So I'll

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<v Speaker 2>take the name and we'll let someone else sell the records.

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<v Speaker 1>Okay, recently you performed in Israel. How did that happen?

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<v Speaker 2>Boy? It's a long story, really, well tell it.

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<v Speaker 1>We're all here.

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<v Speaker 2>It really started a few years ago. I wrote a

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<v Speaker 2>song about the withdrawal from Afghanistan, a song called Blood

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<v Speaker 2>in my Hands. It was very critical of the withdrawal,

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<v Speaker 2>and it resonated with our Afghan veterans who felt gutted,

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<v Speaker 2>shamed that we abandoned their allies that we swore to protect,

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<v Speaker 2>and it became resonant with many folks in the military

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<v Speaker 2>and internationally. I ended up getting emails from people trapped

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<v Speaker 2>in Afghanistan to the point where I were working with

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<v Speaker 2>many of these NGOs evacuating people and getting people out.

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<v Speaker 2>One called Save our Allies got sixteen thousand people out

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<v Speaker 2>in nine days. And I saw the value of music

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<v Speaker 2>in that effort. And then I said, I hope I

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<v Speaker 2>never have to do this again. Well, then Ukraine comes

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<v Speaker 2>putin invade Ukraine. I write a song called come one Man,

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<v Speaker 2>Save the World, kind of to stand for the Ukrainian people.

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<v Speaker 2>I go to Ukraine. I film a song with Ukrainian

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<v Speaker 2>orchestra and a blown up airport, and again that song

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<v Speaker 2>resonates in a way that I think was significant, and

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<v Speaker 2>I was, Okay, God, I hope I never have to

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<v Speaker 2>do this again. And then October seventh, I think, like

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<v Speaker 2>all of us, we were horrified, we were disgusted, we

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<v Speaker 2>were angry. Reminded me a lot of nine to eleven.

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<v Speaker 2>The atrocity has seen some of the images we just

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<v Speaker 2>can never have imagined. But what really got me was

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<v Speaker 2>the cultural aftermath, the collapse of so many of our

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<v Speaker 2>moral institutions. The mayor of New York City gave a speech,

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<v Speaker 2>I think it was October ninth, and the speech was basically,

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<v Speaker 2>something's really broken in America when we have thousands of

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<v Speaker 2>people in Times Square celebrating the raping of women, the

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<v Speaker 2>beheading of babies, the killing of children in front of

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<v Speaker 2>their parents, uploading it to Facebook for the world to see,

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<v Speaker 2>and that people are out there celebrating that something's really broken.

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<v Speaker 2>And so I had this sense of a song is there?

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<v Speaker 2>A song is there? And then we saw the media

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<v Speaker 2>very quickly become Hamas propagandists. Of course, we saw our

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<v Speaker 2>college campuses inflamed. We saw the Rashida Talibs of the

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<v Speaker 2>world basically spouting Hamas propaganda. Couldn't even say that beheadings

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<v Speaker 2>of babies were bad. And so I wrote the song

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<v Speaker 2>okay with the theme were not Okay? And I made

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<v Speaker 2>a video to it and it was it's just a

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<v Speaker 2>documentary video. It was just images from October seventh, but

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<v Speaker 2>it was more than that. Over the lyrics Evils on

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<v Speaker 2>the march, I had putin next to Hamas, next to

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<v Speaker 2>Iran Frankly, next to the un who has also been

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<v Speaker 2>an ally of Hamas in this and that video went

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<v Speaker 2>viral and Israel ended up sharing it on their social media.

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<v Speaker 2>And when that happened, I got a very small sense

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<v Speaker 2>of what it's like to be Jewish. I'm not Jewish.

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<v Speaker 2>You don't have to be Jewish to condemn Hamas, you

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<v Speaker 2>just have to be saying. But when Israel shared that video,

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<v Speaker 2>I experienced the vitriol. I experience the death threats. I

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<v Speaker 2>experienced what Jewish people are going through every day. And

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<v Speaker 2>when that happened, I got connected with many of the

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<v Speaker 2>Jewish organizations Stand with Us, the American Jewish Committee, the Adel,

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<v Speaker 2>and I started speaking to some college groups and I

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<v Speaker 2>started talking about this and playing my song, and it

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<v Speaker 2>really I got thousands of emails from people in Israel,

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<v Speaker 2>thousands of emails from Jewish people around the world, and

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<v Speaker 2>I started doing press and media. And when I was

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<v Speaker 2>out on my tour last month, I had a week

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<v Speaker 2>off and I'd been asked by folks to go to Israel,

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<v Speaker 2>so I did. I went to Israel initially to meet

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<v Speaker 2>with Israeli artists because of course the American and international

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<v Speaker 2>artists have been deathly silent on Israel and October seventh,

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<v Speaker 2>so I was working with them on some projects. I

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<v Speaker 2>met with some troops. I talked to some hostage families,

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<v Speaker 2>which was just as you can imagine excruciating. But I

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<v Speaker 2>wasn't planning on this. But on Friday, they said, you know,

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<v Speaker 2>we have this hostage rally in Hostage Square every Saturday night.

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<v Speaker 2>They've been doing it since October seventh. Hostage family speak,

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<v Speaker 2>thousands of people come, it's aired on television. It's very

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<v Speaker 2>as you can imagine, moving, sad experience. And they asked

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<v Speaker 2>me to play my song Superman, and they asked me

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<v Speaker 2>to play this song Okay, which I did. It was

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<v Speaker 2>the most surreal experience I could tell you about. I've

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<v Speaker 2>never had a Gigbob where before the gig there's an announcement

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<v Speaker 2>that says an event of missile attack, please lay down,

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<v Speaker 2>put your hands over your head. And the crazy thing

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<v Speaker 2>was nobody left, not one Israeli left. I played my songs,

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<v Speaker 2>I cried with the hostage families. Three hours later I

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<v Speaker 2>ran launched their first drones their attack on Israel. So

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<v Speaker 2>quite a interesting twenty four hours.

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<v Speaker 1>Okay, let's unpack all this because from when you started

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<v Speaker 1>in the last century, the game is completely changed. So Afghanistan,

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<v Speaker 1>you are motivated to write a song. Today, as we speak,

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<v Speaker 1>two rappers are having a rap war. Most people have

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<v Speaker 1>never even heard these songs, might even have heard the

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<v Speaker 1>name of the acts. So you write a song, how

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<v Speaker 1>do you get it heard in the twenty first century

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<v Speaker 1>internet streaming world.

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<v Speaker 2>It's a good question, because, of course we sent Blood

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<v Speaker 2>on My Hands to four hundred music media outlets. One

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<v Speaker 2>of them covered it because it did not fit their

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<v Speaker 2>political worldview. So I go on television, I go on

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<v Speaker 2>Fox News, I go on sometimes CNN. I go on podcasts,

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<v Speaker 2>but went a little bit slower.

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<v Speaker 1>One thing to be on podcasts with people like me.

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<v Speaker 1>It's another thing to be on CNN in Fox Fox

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<v Speaker 1>you know, as you say, might align with the view

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<v Speaker 1>of the song.

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<v Speaker 2>How did that happen? People saw it, People saw it,

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<v Speaker 2>Senators started tweeting it. I have some relationships in media

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<v Speaker 2>and they started calling and asking me to come on.

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<v Speaker 2>And it was very interesting because Blood on my Hands,

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<v Speaker 2>because it was critical of the administration, was kind of

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<v Speaker 2>embraced by the right and shunned by the left, which

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<v Speaker 2>includes the music press. My Ukraine song was different. It

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<v Speaker 2>actually debuted on Good Morning America the video that we shot,

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<v Speaker 2>and many of the mainstream media basically accepted that song

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<v Speaker 2>and appreciated that song because that's a song that kind

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<v Speaker 2>of appeals more to the left, and frankly, some on

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<v Speaker 2>the right did not like that song. So I have

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<v Speaker 2>relationships in the media. It's a fascinating thing that, you know,

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<v Speaker 2>you being kind of an icon on this business, to

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<v Speaker 2>have three songs that have had millions of impressions and

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<v Speaker 2>around the world without once spin on the radio. So

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<v Speaker 2>you know, I think the messages are resonating, frankly, because

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<v Speaker 2>very few artists are even talking about the subjects.

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<v Speaker 1>Okay, let's move on to the Ukraine from Afghanistan. How

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<v Speaker 1>long after the attack did you write and go on

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<v Speaker 1>Good Morning America?

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<v Speaker 2>So basically I wrote the song literally in twenty four hours,

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<v Speaker 2>because as you remember, at the outset of the war,

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<v Speaker 2>the mercenaries were hunting Zelenski. We didn't think he even

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<v Speaker 2>came out and said I probably won't be alive at

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<v Speaker 2>the end of the week, So I wrote can One

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<v Speaker 2>Man Save of the World? I recorded it, I put

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<v Speaker 2>it out piano vocal, which I've never done, expecting him

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<v Speaker 2>to basically not survive, but of course he did, and

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<v Speaker 2>the song resonated. And the plan really was to go

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<v Speaker 2>to Poland because Poland has been so amazing taking four

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<v Speaker 2>million refugees, so I wanted to shine the light on Poland.

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<v Speaker 2>So I reached out to a friend who had relationships

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<v Speaker 2>in Poland and she said, this is a great idea,

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<v Speaker 2>let me call you back. And a few weeks later

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<v Speaker 2>she called me back and said, how would you like

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<v Speaker 2>to go to Ukraine and perform the song with the

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<v Speaker 2>Ukrainian Orchestra? And this is not a woman who jokes around.

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<v Speaker 2>I'm like, do they even exist? Does the orchestra exist?

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<v Speaker 2>And she said, they're scattered around Ukraine. We can get

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<v Speaker 2>them into ki for two days. A million things have

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<v Speaker 2>to happen, but be prepared, you know, right, an arrangement.

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<v Speaker 2>So I was driving around the country touring with my

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<v Speaker 2>string quartet and in the back of the van we

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<v Speaker 2>were scoring out the an orchestra arrangement for can One

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<v Speaker 2>Man Save the World? And then my last show, I

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<v Speaker 2>got an email with a plane ticket to Krakau the

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<v Speaker 2>next morning. I had a very long talk with my

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<v Speaker 2>wife that night, but she let me go and two

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<v Speaker 2>days later, after playing trains and automobiles getting to Kiev,

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<v Speaker 2>we were allowed to play and what is hollow ground

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<v Speaker 2>in Ukraine. Typically when you go to Ukraine you play

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<v Speaker 2>in the subways because when Russia launches missiles and the

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<v Speaker 2>air raids go off, everybody runs in the subways. But

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<v Speaker 2>we were able to perform at the Antonoff Airport, which

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<v Speaker 2>basically is the hang or for the symbol of Ukrainian independence,

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<v Speaker 2>which is an airplane. It's called the Maria. It's the

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<v Speaker 2>largest cargo plane in the world. It's the symbol that's

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<v Speaker 2>on their army patch. And at the outset of the war,

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<v Speaker 2>Putin sent his troops to the Antonoff Airport and blew

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<v Speaker 2>it up. He basically blew the nose cone off, so

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<v Speaker 2>it's this wreckage of a plane. And we were able

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<v Speaker 2>to put the orchestra and myself in front of this

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<v Speaker 2>plane and perform. And a little antidote that really kind

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<v Speaker 2>of brought it home for me. As we were running takes,

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<v Speaker 2>I noticed that out of the corner of my eye

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<v Speaker 2>an entourage of military folks coming over. It turned out

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<v Speaker 2>it was the general who had approved us shooting there.

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<v Speaker 2>He's kind of their schwartz cough. He's kind of very

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<v Speaker 2>well known. He's the face of the war. And through

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<v Speaker 2>a translator, he said, you know, thank you for coming.

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<v Speaker 2>You know, President Zelensky's glad you're here. And then he

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<v Speaker 2>said something I'll never forget. He said, let me hear

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<v Speaker 2>the song. And you could see the orchestra kind of

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<v Speaker 2>sit up in their seats and because very emotional, and

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<v Speaker 2>they started playing with this vigor and passion. What I

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<v Speaker 2>found out later is every member of that orchestra had

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<v Speaker 2>either had a family member killed, missing, or on the

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<v Speaker 2>front lines. So to play this song in front of

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<v Speaker 2>this general was a big deal for them. And if

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<v Speaker 2>you see the Kimbo Man Say of the World video,

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<v Speaker 2>this is the take. And at the end of the performance,

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<v Speaker 2>I was in tears. Some of his Rambo guards were

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<v Speaker 2>like putting on stunglasses because they were in tears. And

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<v Speaker 2>there was this silence that probably was four or five

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<v Speaker 2>seconds but felt like a week. But you could really

0:13:35.320 --> 0:13:38.360
<v Speaker 2>feel the weight of that moment, these people fighting for

0:13:38.400 --> 0:13:43.640
<v Speaker 2>their survival. The seventy two year old violin player teaching

0:13:43.640 --> 0:13:48.800
<v Speaker 2>me curse words to yell at Putin. And I realized

0:13:48.840 --> 0:13:51.120
<v Speaker 2>it later, Bob, that they didn't know any of the words,

0:13:51.640 --> 0:13:54.520
<v Speaker 2>they didn't know the lyrics. It was just music, the

0:13:54.679 --> 0:13:58.560
<v Speaker 2>universal nature of music that brought us together and were

0:13:58.600 --> 0:14:01.560
<v Speaker 2>able to have this American from thousands of miles away

0:14:02.040 --> 0:14:05.120
<v Speaker 2>singing with these people under siege. And I wish every

0:14:05.120 --> 0:14:08.360
<v Speaker 2>American could have stood in my shoes. I think we

0:14:08.400 --> 0:14:12.840
<v Speaker 2>would have a different sense of the of how fortunate

0:14:12.840 --> 0:14:14.400
<v Speaker 2>we are to have the freedoms we do have.

0:14:16.480 --> 0:14:19.640
<v Speaker 1>Okay, one of the obvious questions you mentioned your wife

0:14:19.720 --> 0:14:22.320
<v Speaker 1>in discussing whether you could go, did you have any

0:14:22.360 --> 0:14:23.520
<v Speaker 1>sense of fear there?

0:14:25.280 --> 0:14:31.840
<v Speaker 2>I did. I did. I wrote letters to my family.

0:14:32.320 --> 0:14:34.840
<v Speaker 2>They didn't even know it in case I didn't come back.

0:14:35.200 --> 0:14:38.000
<v Speaker 2>I mean, certainly, you know the odds are with you

0:14:38.200 --> 0:14:40.040
<v Speaker 2>when you go, but it is a war zone and

0:14:40.080 --> 0:14:45.280
<v Speaker 2>people are getting killed, and unlike Israel, there was no

0:14:45.880 --> 0:14:49.440
<v Speaker 2>iron dome to protect us. So yeah, I didn't sleep

0:14:49.520 --> 0:14:53.080
<v Speaker 2>much there. When we finally got back to Poland after

0:14:53.120 --> 0:14:56.000
<v Speaker 2>five days, I think I slept for thirty hours. Because

0:14:56.040 --> 0:14:59.840
<v Speaker 2>you're always anxious and you're scared and you also get

0:14:59.840 --> 0:15:03.160
<v Speaker 2>a sense of the fortitude of the Ukrainian people, of

0:15:03.280 --> 0:15:08.640
<v Speaker 2>Israeli people who basically every day they have to ask

0:15:09.160 --> 0:15:13.479
<v Speaker 2>is this my last day? Because they're being attacked relentlessly.

0:15:13.560 --> 0:15:21.320
<v Speaker 2>So yeah, I was certainly anxious. We had one air

0:15:21.400 --> 0:15:25.800
<v Speaker 2>raid that kind of drove us to the basements. But yeah,

0:15:25.840 --> 0:15:27.840
<v Speaker 2>it's a war zone. I mean, I'm human, and I

0:15:27.880 --> 0:15:30.000
<v Speaker 2>think if you're not a little scared, something's probably wrong

0:15:30.000 --> 0:15:30.200
<v Speaker 2>with you.

0:15:31.280 --> 0:15:36.600
<v Speaker 1>Okay, you took a stance with Afghanistan. Needless to say,

0:15:36.680 --> 0:15:42.080
<v Speaker 1>we pulled out. Ukrainian war is still going on. Was

0:15:42.320 --> 0:15:46.160
<v Speaker 1>just recently the government said we're going to give funds

0:15:46.160 --> 0:15:51.000
<v Speaker 1>and weapons to Ukraine. Having been there, being a student

0:15:51.040 --> 0:15:54.640
<v Speaker 1>of the situation, what would you tell people about the

0:15:54.680 --> 0:15:55.560
<v Speaker 1>war in Ukraine?

0:15:57.720 --> 0:16:02.480
<v Speaker 2>I would say that I understand. Also people say, well,

0:16:02.680 --> 0:16:05.200
<v Speaker 2>are we waste the money? Is their corruption? There is?

0:16:05.680 --> 0:16:08.760
<v Speaker 2>There's corruption there. Frankly, if you want to get something done,

0:16:08.760 --> 0:16:11.040
<v Speaker 2>it's probably easier to do it with the mob than

0:16:11.080 --> 0:16:16.480
<v Speaker 2>the government. At the same time, the cost I think

0:16:16.520 --> 0:16:24.000
<v Speaker 2>of abandoning Ukraine to Putin could be catastrophic. Certainly he

0:16:24.040 --> 0:16:28.960
<v Speaker 2>would not stop there, and certainly if he moves into Poland,

0:16:29.000 --> 0:16:31.720
<v Speaker 2>it's a NATO country, and then we have American soldiers

0:16:32.080 --> 0:16:36.920
<v Speaker 2>fighting this war, so I think we have to stop him. Unfortunately,

0:16:37.360 --> 0:16:39.960
<v Speaker 2>I think the administration has been giving just enough to

0:16:40.040 --> 0:16:43.720
<v Speaker 2>Ukraine to kind of maybe not have them lose right now.

0:16:43.760 --> 0:16:47.920
<v Speaker 2>But the fact that I think many of our republicans,

0:16:47.960 --> 0:16:50.080
<v Speaker 2>some of my I rode with some Republicans on a

0:16:50.120 --> 0:16:54.240
<v Speaker 2>train from Leviv to Kiev and some of them were

0:16:54.280 --> 0:16:58.560
<v Speaker 2>not open to funding Ukraine for political reasons. I thought

0:16:58.600 --> 0:17:01.440
<v Speaker 2>that was a huge mistake, and I'm very glad that

0:17:01.800 --> 0:17:06.400
<v Speaker 2>the House came to their senses and funded Ukraine. There

0:17:06.520 --> 0:17:09.040
<v Speaker 2>is waste, and we need to have people on the ground,

0:17:09.520 --> 0:17:12.960
<v Speaker 2>But a lot of the expense that those funding goes

0:17:13.040 --> 0:17:18.560
<v Speaker 2>to is to American companies actually making warheads, making missiles,

0:17:18.640 --> 0:17:23.719
<v Speaker 2>making military supplies for Ukraine. So it just doesn't they

0:17:23.720 --> 0:17:26.879
<v Speaker 2>don't write a check for sixty billion dollars to Ukraine.

0:17:27.400 --> 0:17:30.040
<v Speaker 2>But I understand that because I did see the waste,

0:17:30.480 --> 0:17:33.879
<v Speaker 2>and I think if we had a little more savvy

0:17:33.960 --> 0:17:35.840
<v Speaker 2>we would have people on there. I saw miles of

0:17:35.880 --> 0:17:38.440
<v Speaker 2>trucks outside of the border, and I'm like, what are

0:17:38.480 --> 0:17:42.080
<v Speaker 2>in those trucks? And I think we really need people

0:17:42.119 --> 0:17:44.959
<v Speaker 2>on the ground. To hold some accountability. But I think

0:17:45.000 --> 0:17:48.480
<v Speaker 2>a lot of times in politics, you know, for political reasons,

0:17:48.520 --> 0:17:51.120
<v Speaker 2>people write at check and they say, Okay, we've done

0:17:51.119 --> 0:17:53.359
<v Speaker 2>our job. No, you just started to do your job.

0:17:53.400 --> 0:17:55.480
<v Speaker 2>But I do think the consequence of allowing Putin to

0:17:55.520 --> 0:18:01.600
<v Speaker 2>take Ukraine could be catastrophic geopolitically for US and and

0:18:01.800 --> 0:18:05.680
<v Speaker 2>and Frankly, I think one reason why we had October

0:18:05.720 --> 0:18:09.680
<v Speaker 2>seventh was because when you abandon your citizens to the Taliban,

0:18:10.280 --> 0:18:14.479
<v Speaker 2>when you basically tell Putin that, well, a little invasion's okay.

0:18:15.880 --> 0:18:20.840
<v Speaker 2>I think the bad actors Iran Hamas they sense weakness.

0:18:21.320 --> 0:18:25.080
<v Speaker 2>And I'm sure Putin greenlit October seventh because what was

0:18:25.080 --> 0:18:28.199
<v Speaker 2>his goal? To take the focus off Ukraine, which it

0:18:28.240 --> 0:18:32.240
<v Speaker 2>has done. So I understand the concerns about Ukraine, but

0:18:32.280 --> 0:18:37.720
<v Speaker 2>in my opinion, to allow Putin to to take Ukraine

0:18:38.440 --> 0:18:42.760
<v Speaker 2>and to basically annihilate Ukrainians would be historically catastrophic.

0:18:50.200 --> 0:18:52.840
<v Speaker 1>Now, your wife, who you've been married to for decades,

0:18:52.960 --> 0:18:56.240
<v Speaker 1>has a Jewish last name. I don't know to what

0:18:56.320 --> 0:18:59.560
<v Speaker 1>degree she was brought up or considers yourself a practicing Jew.

0:19:00.080 --> 0:19:04.320
<v Speaker 1>But did that inform your take on October seventh?

0:19:05.320 --> 0:19:09.119
<v Speaker 2>No, it didn't it's to me, this is not a

0:19:10.560 --> 0:19:13.520
<v Speaker 2>Jewish thing. A lot of people say, why are you

0:19:13.560 --> 0:19:16.200
<v Speaker 2>doing this, You're not Jewish, and I'm like, well, when

0:19:16.200 --> 0:19:20.080
<v Speaker 2>we were rescuing Muslims from Afghanistan, people didn't say why

0:19:20.080 --> 0:19:21.919
<v Speaker 2>are you Muslim? Why are you doing this? I just

0:19:21.960 --> 0:19:26.359
<v Speaker 2>think it's the right thing to do. I was just

0:19:26.840 --> 0:19:31.000
<v Speaker 2>frankly shocked, and to this day, I'm ashamed of our

0:19:31.040 --> 0:19:34.960
<v Speaker 2>industry where so many folks who've made their kind of

0:19:35.040 --> 0:19:40.600
<v Speaker 2>brand is caring about human rights, standing up for good

0:19:40.600 --> 0:19:45.000
<v Speaker 2>and all that is good, have been deathly silent on

0:19:45.040 --> 0:19:47.919
<v Speaker 2>October seventh. I mean, of course, we all remember the

0:19:47.960 --> 0:19:49.960
<v Speaker 2>concert for New York. I was a little kid and

0:19:50.000 --> 0:19:52.760
<v Speaker 2>I was honored to play my little song. But every

0:19:53.040 --> 0:19:57.439
<v Speaker 2>icon in music was on that stage in Madison Square Garden,

0:19:57.960 --> 0:20:05.920
<v Speaker 2>condemning Osama bin Laden, supporting America, supporting New York. October seventh,

0:20:06.560 --> 0:20:14.680
<v Speaker 2>nothing nothing, So for me, this is not about Jewish, Christian, atheist, Martian.

0:20:15.119 --> 0:20:19.600
<v Speaker 2>This is about those who want to destroy civilization against

0:20:19.680 --> 0:20:21.639
<v Speaker 2>those who want to save it. Because at the end

0:20:21.680 --> 0:20:24.560
<v Speaker 2>of the day, and that's what my song's about. It's

0:20:24.560 --> 0:20:31.000
<v Speaker 2>not about Israel Palestine. It's about good versus evil. It

0:20:31.119 --> 0:20:35.040
<v Speaker 2>really is. And so for me, it's not about Jewish,

0:20:35.400 --> 0:20:39.720
<v Speaker 2>it's about sanity. And for me, yes, my wife has

0:20:39.880 --> 0:20:46.200
<v Speaker 2>she's a Berkowitz, she's not a practicing Jewish person. But yeah,

0:20:46.200 --> 0:20:49.840
<v Speaker 2>to me, it's as simple as that. It's it's just

0:20:50.000 --> 0:20:50.800
<v Speaker 2>doing the right thing.

0:20:52.000 --> 0:20:55.000
<v Speaker 1>Okay, where were you and how did you find out

0:20:55.520 --> 0:20:59.720
<v Speaker 1>about the October seventh invasion slash massacre.

0:21:01.720 --> 0:21:03.920
<v Speaker 2>I was at home like everybody else, and I kind

0:21:03.960 --> 0:21:07.359
<v Speaker 2>of heard what was going on, and we didn't see

0:21:07.359 --> 0:21:11.320
<v Speaker 2>some of the images, you know, for hours, but I

0:21:11.520 --> 0:21:17.000
<v Speaker 2>kept saying, like, where's the idea? Half where like everybody else,

0:21:17.600 --> 0:21:21.600
<v Speaker 2>where's where's the good guys? How is this happening? And

0:21:22.280 --> 0:21:25.119
<v Speaker 2>you know, certainly the Nova concert was was kind of

0:21:25.119 --> 0:21:27.600
<v Speaker 2>one of the first things that kind of we saw.

0:21:28.359 --> 0:21:31.119
<v Speaker 2>And I again, I was six to sick to my stomach.

0:21:31.200 --> 0:21:33.919
<v Speaker 2>I was you know, I was horrified. And as the

0:21:34.000 --> 0:21:37.040
<v Speaker 2>days went by and you heard the stories and it

0:21:37.200 --> 0:21:41.080
<v Speaker 2>just you just didn't understand. Number one, how could this evil?

0:21:41.680 --> 0:21:46.000
<v Speaker 2>How could this evil happen? And number two how Israel

0:21:46.080 --> 0:21:48.320
<v Speaker 2>allowed it to happen? And when I was in Israel,

0:21:48.440 --> 0:21:52.400
<v Speaker 2>I asked many kind of leaders that question, and they

0:21:52.520 --> 0:21:54.680
<v Speaker 2>just shake their heads because there is no good answer

0:21:54.680 --> 0:21:54.960
<v Speaker 2>for that.

0:21:56.440 --> 0:22:00.280
<v Speaker 1>Okay, getting a little bit deeper into the conflict, which,

0:22:00.359 --> 0:22:03.479
<v Speaker 1>as you say, is to place Ukraine in the news

0:22:03.520 --> 0:22:08.360
<v Speaker 1>and is upfront and center because of the protests. What

0:22:08.400 --> 0:22:12.800
<v Speaker 1>would you say to the Jews, never mind the non

0:22:12.960 --> 0:22:17.240
<v Speaker 1>Jews who say put all the blame on Net and Yahoo.

0:22:17.359 --> 0:22:21.200
<v Speaker 1>Got to get rid of net Yah.

0:22:21.600 --> 0:22:25.240
<v Speaker 2>I think there's a time for politics, but that's probably

0:22:25.280 --> 0:22:34.040
<v Speaker 2>not now. I think Israel needs to get rid of

0:22:34.040 --> 0:22:37.720
<v Speaker 2>Hamas because the cycle has been going on and on

0:22:38.440 --> 0:22:42.920
<v Speaker 2>for decades. Hamask commits atrocities, they run back their high

0:22:43.000 --> 0:22:49.000
<v Speaker 2>they commit they take terrorists, they use human shields to

0:22:49.200 --> 0:22:52.119
<v Speaker 2>guarantee that as many Palaestinian civilizations are killed, the world

0:22:52.200 --> 0:22:55.159
<v Speaker 2>comes down on Israel, pressures them to where they stop,

0:22:55.400 --> 0:22:59.680
<v Speaker 2>and then the whole thing starts over. So again, I think,

0:23:01.040 --> 0:23:04.040
<v Speaker 2>to me, it's not so much about the politicians, the

0:23:04.080 --> 0:23:07.200
<v Speaker 2>net and Yahoo. You love him, you hate him. There'll

0:23:07.240 --> 0:23:09.480
<v Speaker 2>be a time for reckoning. I think for net and

0:23:09.560 --> 0:23:15.160
<v Speaker 2>Yahoo because he was in charge when the massive failure

0:23:15.200 --> 0:23:18.320
<v Speaker 2>to protect his own people on October seventh occurred. But

0:23:18.480 --> 0:23:21.119
<v Speaker 2>I think right now, when I talk to folks in Israel,

0:23:21.359 --> 0:23:24.480
<v Speaker 2>certainly many of the hostage families are angry with him,

0:23:24.560 --> 0:23:27.440
<v Speaker 2>and you understand that. I mean, they just want their

0:23:27.480 --> 0:23:30.879
<v Speaker 2>loved ones home. But I think right now it's really

0:23:30.880 --> 0:23:35.000
<v Speaker 2>about taking out Hamas and then the chips will probably

0:23:35.000 --> 0:23:36.960
<v Speaker 2>fall soon after that.

0:23:37.920 --> 0:23:42.240
<v Speaker 1>Let's be specific. As we were recording this, Israel has

0:23:42.480 --> 0:23:47.080
<v Speaker 1>entered Rafa. Our US government says we are not going

0:23:47.119 --> 0:23:51.840
<v Speaker 1>to help them with materiel. What's your take on that.

0:23:53.880 --> 0:23:57.800
<v Speaker 2>I think it's disgusting by our government. Some of the

0:23:57.840 --> 0:24:03.000
<v Speaker 2>statements that come out from our administration have been despicable.

0:24:04.400 --> 0:24:08.320
<v Speaker 2>In the beginning, I think President Biden his rhetoric was

0:24:08.400 --> 0:24:10.480
<v Speaker 2>very good. We're going to stand with Israel shoulder to shoulder.

0:24:11.200 --> 0:24:14.640
<v Speaker 2>But when you hear things from Anthony Blincoln statements such

0:24:14.680 --> 0:24:19.360
<v Speaker 2>as if Israel doesn't change their ways, they may become indistinguishable,

0:24:19.400 --> 0:24:26.440
<v Speaker 2>indistinguishable from Hamas, that is disgusting. He knows better. This

0:24:26.480 --> 0:24:32.120
<v Speaker 2>is a guy who called Afghanistan an incredible success. This

0:24:32.200 --> 0:24:36.560
<v Speaker 2>is a guy who presided over when America accidentally droned

0:24:36.920 --> 0:24:41.200
<v Speaker 2>and killed ten Afghans, and he's calling out Israel after

0:24:41.600 --> 0:24:45.119
<v Speaker 2>the mistake of killing the human Aid workers. So I

0:24:45.200 --> 0:24:51.800
<v Speaker 2>think to withhold armaments from Israel at this point, I

0:24:51.920 --> 0:24:54.080
<v Speaker 2>just don't understand it. I don't understand it morally, I

0:24:54.119 --> 0:24:56.720
<v Speaker 2>don't understand it politically. I haven't understood it from day

0:24:56.760 --> 0:25:00.600
<v Speaker 2>one now. As far as moving into Rafa on the border,

0:25:00.960 --> 0:25:03.240
<v Speaker 2>that doesn't surprise me because many folks I talk to

0:25:03.880 --> 0:25:06.480
<v Speaker 2>and Israel assumed that that would probably be the first step,

0:25:06.520 --> 0:25:10.560
<v Speaker 2>because the lifeblood of Hamas or the tunnels from Egypt

0:25:10.760 --> 0:25:14.480
<v Speaker 2>into Gaza. So I think what Israel will do, and

0:25:14.560 --> 0:25:16.600
<v Speaker 2>I think you'll probably see over the next few days

0:25:17.200 --> 0:25:21.120
<v Speaker 2>when they start kind of going down and extivating hundreds

0:25:21.160 --> 0:25:24.840
<v Speaker 2>of tunnels under the border there, so they'll cut off

0:25:24.880 --> 0:25:29.320
<v Speaker 2>the life blood of Hamas and hopefully, you know, they'll

0:25:29.320 --> 0:25:33.240
<v Speaker 2>try to move as many civilians as possible. But it's

0:25:33.320 --> 0:25:38.000
<v Speaker 2>going to be terrible. All war is terrible. But this

0:25:38.080 --> 0:25:40.840
<v Speaker 2>is kind of what I was told what happened, and

0:25:40.880 --> 0:25:42.160
<v Speaker 2>it seems to be playing out that way.

0:25:43.000 --> 0:25:45.760
<v Speaker 1>And what do you say to the people who say,

0:25:46.600 --> 0:25:51.240
<v Speaker 1>thirty odd thousand people have perished, The war has to stop.

0:25:53.200 --> 0:25:58.879
<v Speaker 2>Nobody likes war. I care about a Palestinian child as

0:25:58.960 --> 0:26:01.240
<v Speaker 2>much as an Israeli child, as much as an Afghan child,

0:26:01.320 --> 0:26:04.959
<v Speaker 2>the Ukrainian child, an American child. But I would have

0:26:05.000 --> 0:26:13.040
<v Speaker 2>to ask some of these people who use the ceasefire argument,

0:26:13.320 --> 0:26:16.240
<v Speaker 2>certain we all would love a ceasefire and spout the

0:26:16.280 --> 0:26:21.439
<v Speaker 2>thirty thousand Palestinians killed. I think, first of all, that

0:26:21.520 --> 0:26:25.280
<v Speaker 2>number is given to you by Hamas. It includes hama's members.

0:26:25.320 --> 0:26:28.119
<v Speaker 2>And the fact that many in the media parrot the

0:26:28.160 --> 0:26:31.920
<v Speaker 2>Hamas propaganda is a huge problem. The AP, the BBC,

0:26:32.520 --> 0:26:36.280
<v Speaker 2>sky News, they're not journalists, they are Hamas propagandists. The

0:26:36.359 --> 0:26:40.160
<v Speaker 2>fact that President Biden used that number in his State

0:26:40.200 --> 0:26:45.800
<v Speaker 2>of the Union, it's very unfortunate. Hamas is very good

0:26:45.800 --> 0:26:49.159
<v Speaker 2>at propaganda. Because there's many people who don't like Israel.

0:26:49.840 --> 0:26:53.040
<v Speaker 2>I haven't I didn't expect I didn't. I always thought

0:26:53.040 --> 0:26:55.640
<v Speaker 2>that anti Semitism was some crazy people on the right

0:26:55.680 --> 0:26:59.560
<v Speaker 2>and some crazy people on the left. But there's a

0:26:59.600 --> 0:27:03.240
<v Speaker 2>lot of anti Semitism out there. And I would just

0:27:03.240 --> 0:27:06.280
<v Speaker 2>say to the ceasefire people and the people who claim

0:27:07.200 --> 0:27:11.439
<v Speaker 2>to care about Palestinians. In my mind, if you truly

0:27:11.480 --> 0:27:16.439
<v Speaker 2>cared about Palestinians, would you not be saying release the hostages.

0:27:17.160 --> 0:27:20.119
<v Speaker 2>Would you not be saying lay down your weapons and

0:27:20.200 --> 0:27:23.760
<v Speaker 2>not one more civilian will die? Would you not be

0:27:23.840 --> 0:27:28.520
<v Speaker 2>saying stop using Palestinian children? And women as human shields

0:27:28.840 --> 0:27:31.720
<v Speaker 2>and trying to create as many Palestinian deaths as possible.

0:27:31.880 --> 0:27:34.879
<v Speaker 2>Would you not be saying, how come the Arab nations

0:27:34.920 --> 0:27:39.520
<v Speaker 2>Egypt will not take one refugee? Would you not be

0:27:40.440 --> 0:27:49.520
<v Speaker 2>calling out Hamas as the agent of Palestinian death? And

0:27:50.640 --> 0:27:53.920
<v Speaker 2>if you don't understand the death culture of Hamas where

0:27:53.920 --> 0:27:58.879
<v Speaker 2>they train children at five years old to kill Jewish people.

0:28:00.000 --> 0:28:05.080
<v Speaker 2>Only hope for Palestinians truly is to free Gaza from Hamas.

0:28:06.040 --> 0:28:09.480
<v Speaker 2>There's no hope. And what people don't like to talk

0:28:09.520 --> 0:28:14.399
<v Speaker 2>about too is the IDF numbers. By a objective people,

0:28:14.760 --> 0:28:20.720
<v Speaker 2>the civilian to combatant casualty rate is basically one to one,

0:28:21.160 --> 0:28:25.200
<v Speaker 2>which has never happened in history. Israel does more than

0:28:25.240 --> 0:28:29.000
<v Speaker 2>any army to protect to protect civilians. If you cared

0:28:29.040 --> 0:28:33.399
<v Speaker 2>about Palestinians, these crazy folks on their campuses, why weren't

0:28:33.400 --> 0:28:38.360
<v Speaker 2>you protesting when Syria killed hundreds of thousands of Palestinians.

0:28:39.000 --> 0:28:41.680
<v Speaker 2>So at the end of the day, I think many

0:28:41.720 --> 0:28:46.000
<v Speaker 2>of the ceasefire folks they have a good heart. They

0:28:46.120 --> 0:28:48.960
<v Speaker 2>just wanted to stop and I understand that. But what

0:28:49.040 --> 0:28:53.880
<v Speaker 2>it's not doing, what the ceasefire will not do, is

0:28:53.880 --> 0:28:58.440
<v Speaker 2>stop this from happening again, and I never hear let

0:28:58.440 --> 0:29:00.680
<v Speaker 2>me say that again. I rarely hear people calling for

0:29:00.680 --> 0:29:05.120
<v Speaker 2>a ceasefire make those arguments about releasing the hostages and

0:29:05.160 --> 0:29:08.680
<v Speaker 2>all these other things I'm talking about. So that's what

0:29:08.720 --> 0:29:11.240
<v Speaker 2>I would say to people. If you truly care about

0:29:11.280 --> 0:29:16.640
<v Speaker 2>the Palestinian people, Hamas has to go. If you care

0:29:16.720 --> 0:29:20.000
<v Speaker 2>about gay people, Hummas has to go, because they kill them.

0:29:20.320 --> 0:29:23.400
<v Speaker 2>If these kids were protesting in Gaza and calling out

0:29:23.480 --> 0:29:28.800
<v Speaker 2>the government there, they would be dead. Unfortunately, that narrative

0:29:28.800 --> 0:29:33.000
<v Speaker 2>doesn't seem to stick with many people, especially in the

0:29:33.080 --> 0:29:35.760
<v Speaker 2>music business. But that's my opinion.

0:29:36.640 --> 0:29:42.400
<v Speaker 1>Okay, we have all these pro Palestinian encampments and rallies

0:29:42.440 --> 0:29:48.360
<v Speaker 1>and protests on college campuses. Now, as a writer in

0:29:48.400 --> 0:29:51.840
<v Speaker 1>the Free Press pointed out, if they were sporting or

0:29:51.920 --> 0:29:56.480
<v Speaker 1>using Confederate flags, they would be uh stopped immediately. If

0:29:56.480 --> 0:29:59.760
<v Speaker 1>they were protesting and saying things about black people, they

0:29:59.760 --> 0:30:04.160
<v Speaker 1>would stopped immediately. Why do you think these people are

0:30:04.200 --> 0:30:08.480
<v Speaker 1>protesting and why do you think they've been allowed to protest?

0:30:08.920 --> 0:30:12.960
<v Speaker 1>In addition, you have both the administrations of these schools

0:30:13.000 --> 0:30:17.880
<v Speaker 1>and many Democrats afraid to stand up to these people.

0:30:18.680 --> 0:30:21.280
<v Speaker 2>I gave a speech at UCLA last week basically saying

0:30:21.360 --> 0:30:24.520
<v Speaker 2>the same thing that if twelve hundred Muslims are massacred

0:30:25.040 --> 0:30:29.760
<v Speaker 2>and there were Muslim hostages and Muslim women were raped,

0:30:29.800 --> 0:30:33.400
<v Speaker 2>and we had five Muslim American hostages as we speak,

0:30:33.880 --> 0:30:38.040
<v Speaker 2>and our university set up students and faculties set up

0:30:38.080 --> 0:30:43.200
<v Speaker 2>illegal accountments on their campuses calling for death to all Muslims,

0:30:43.720 --> 0:30:49.040
<v Speaker 2>attacking Muslims at UCLA literally creating checkpoints where students are asked,

0:30:49.200 --> 0:30:52.880
<v Speaker 2>what is your religion? And if they say, in this case, Muslim,

0:30:52.960 --> 0:30:56.400
<v Speaker 2>they would be banned from moving across campus. If that

0:30:56.520 --> 0:31:01.800
<v Speaker 2>was happening, it wouldn't be happening because we know that

0:31:02.120 --> 0:31:05.560
<v Speaker 2>the administrations would stop that in two seconds. I think

0:31:05.560 --> 0:31:09.840
<v Speaker 2>there's a few reasons why this has grown on some

0:31:09.880 --> 0:31:13.280
<v Speaker 2>of our college campuses. Let's be honest. It's in our

0:31:13.320 --> 0:31:17.000
<v Speaker 2>supposed elite Ivy League campuses and the coastal campuses. This

0:31:17.080 --> 0:31:20.520
<v Speaker 2>is not happening in the SEC. This is not happening

0:31:20.560 --> 0:31:25.000
<v Speaker 2>in Florida. But many of those institutions for decades have

0:31:25.120 --> 0:31:30.719
<v Speaker 2>been teaching this oppressor versus a press e kind of

0:31:30.760 --> 0:31:36.000
<v Speaker 2>Marxist woke dogma, and many of those students ten for

0:31:36.040 --> 0:31:40.440
<v Speaker 2>fifteen years ago. Are now presidents of MIT, presidents of Harvard,

0:31:40.720 --> 0:31:45.760
<v Speaker 2>presidents of UCLA, running the New York Times, running business.

0:31:46.760 --> 0:31:50.480
<v Speaker 2>So this whole woke ideology. I was talking to Naton Seransky,

0:31:52.040 --> 0:31:56.640
<v Speaker 2>the freedom fighter in Israel, the iconic Naton Seranski, and

0:31:56.680 --> 0:31:58.720
<v Speaker 2>he said, you know, twenty years ago, somebody asked me

0:32:00.040 --> 0:32:02.959
<v Speaker 2>what is the biggest threat to freedom in the Western world?

0:32:03.400 --> 0:32:07.640
<v Speaker 2>And he said, twenty years ago American academic institutions. And

0:32:07.720 --> 0:32:10.040
<v Speaker 2>I think we've seen that. You know, Katar has funded

0:32:10.040 --> 0:32:14.520
<v Speaker 2>three billion dollars to the northwesterns, to NYU, to Colombia

0:32:15.000 --> 0:32:18.640
<v Speaker 2>to basically kind of teach this anti Semitic you know,

0:32:18.760 --> 0:32:22.840
<v Speaker 2>oppressor versus a press e dogma. So between the faculty

0:32:23.800 --> 0:32:29.080
<v Speaker 2>who believes this, between the president's and administration who appease this,

0:32:30.040 --> 0:32:32.480
<v Speaker 2>and the radicals who have kind of come into these

0:32:32.480 --> 0:32:36.280
<v Speaker 2>college campuses to indoctrinate these kids, to brainwash them. I

0:32:36.320 --> 0:32:40.360
<v Speaker 2>don't think we should be surprised. The difference between UCLA

0:32:40.480 --> 0:32:45.160
<v Speaker 2>and NYU and Colombia and MIT is the administrations are

0:32:45.160 --> 0:32:50.040
<v Speaker 2>so cowardly afraid to basically enforce their own codes of conduct.

0:32:50.440 --> 0:32:53.600
<v Speaker 2>They negotiate with the students and they kind of they

0:32:53.640 --> 0:32:57.760
<v Speaker 2>kind of allow them to run rabid versus some of

0:32:57.760 --> 0:33:00.960
<v Speaker 2>the schools in the South where and to the encampments,

0:33:01.080 --> 0:33:05.400
<v Speaker 2>you know, taken out, these students are suspended and sanity rains.

0:33:05.440 --> 0:33:07.920
<v Speaker 2>But I think this has been coming for a long time.

0:33:08.400 --> 0:33:10.200
<v Speaker 2>We've just kind of turned over the rock and it's

0:33:10.200 --> 0:33:13.160
<v Speaker 2>clear for everybody to see now.

0:33:13.200 --> 0:33:17.240
<v Speaker 1>No one is a strict party member, but and the

0:33:17.320 --> 0:33:21.680
<v Speaker 1>continuum of left to right, Republican or Democrat generally speaking,

0:33:21.720 --> 0:33:23.000
<v Speaker 1>where would you put yourself?

0:33:24.720 --> 0:33:27.240
<v Speaker 2>I would say I'm a centrist. Maybe I lean a

0:33:27.240 --> 0:33:34.040
<v Speaker 2>little right, you know, on financial and foreign policy issues,

0:33:34.080 --> 0:33:37.320
<v Speaker 2>and I lean a little left on social issues. But

0:33:38.360 --> 0:33:40.960
<v Speaker 2>I've always kind of been a misfit toy. I really

0:33:40.960 --> 0:33:46.600
<v Speaker 2>don't fit into either party. And certain times the left

0:33:46.640 --> 0:33:48.360
<v Speaker 2>is mad at me, and certain times the right is

0:33:48.400 --> 0:33:50.720
<v Speaker 2>mad at me, And so be it. I think that's

0:33:50.720 --> 0:33:54.280
<v Speaker 2>what America is all about. I think over the last

0:33:54.680 --> 0:33:58.480
<v Speaker 2>ten to fifteen years we become very polarized that the

0:33:58.560 --> 0:34:01.840
<v Speaker 2>left has moved further left, some on the right has

0:34:01.880 --> 0:34:05.160
<v Speaker 2>moved farther right. I don't think if you kind of

0:34:05.200 --> 0:34:07.640
<v Speaker 2>woke up from a coma after fifteen years, you probably

0:34:07.640 --> 0:34:11.279
<v Speaker 2>wouldn't recognize the Democratic left and you wouldn't recognize the

0:34:11.320 --> 0:34:14.759
<v Speaker 2>Republican right. The center has kind of been washed out.

0:34:15.160 --> 0:34:17.160
<v Speaker 2>And you know the theme of my song, you know

0:34:17.200 --> 0:34:19.239
<v Speaker 2>we are not okay. I think that applies to our

0:34:19.280 --> 0:34:23.240
<v Speaker 2>politics right now too. We've become so tribal and the media,

0:34:23.280 --> 0:34:25.160
<v Speaker 2>I think has become so tribal, and I think that's

0:34:25.160 --> 0:34:30.040
<v Speaker 2>one reason we're here and we are struggling. Certain things

0:34:30.320 --> 0:34:34.640
<v Speaker 2>like supporting Israel should not be political, and you know

0:34:34.680 --> 0:34:38.080
<v Speaker 2>what it's really not. If you look at the polls, No,

0:34:39.000 --> 0:34:41.800
<v Speaker 2>eighty percent of Americans support Israel. If they support Israel

0:34:41.840 --> 0:34:44.600
<v Speaker 2>going into Rafa, you wouldn't know that by the media

0:34:45.120 --> 0:34:47.760
<v Speaker 2>and by the college campuses. But at the same time

0:34:47.880 --> 0:34:51.759
<v Speaker 2>you know that that's the so called silent majority. But

0:34:51.840 --> 0:34:55.240
<v Speaker 2>the problem is if you're silent long enough, that silent

0:34:55.280 --> 0:34:57.839
<v Speaker 2>majority becomes a silent minority. So that's why I think

0:34:57.840 --> 0:35:00.680
<v Speaker 2>it's very important for people to speak up. The first

0:35:01.000 --> 0:35:03.279
<v Speaker 2>lyric of my song Okay is this is a time

0:35:03.280 --> 0:35:06.160
<v Speaker 2>for choosing, and I think we have to choose. We

0:35:06.200 --> 0:35:08.360
<v Speaker 2>can't put our heads in the sand anymore. We're losing

0:35:08.400 --> 0:35:14.240
<v Speaker 2>a generation of children. And I just wish more artists

0:35:14.640 --> 0:35:19.080
<v Speaker 2>would say that. And that's the thing that really breaks

0:35:19.120 --> 0:35:19.959
<v Speaker 2>my heart.

0:35:20.200 --> 0:35:23.560
<v Speaker 1>Okay, in the sixties, it was believed that music could

0:35:23.680 --> 0:35:27.200
<v Speaker 1>change the world. Graham Nash literally had a song where

0:35:27.200 --> 0:35:31.720
<v Speaker 1>you sang that, having had this experience with these three

0:35:31.760 --> 0:35:36.040
<v Speaker 1>spiky political songs, to what degree do you believe that

0:35:36.239 --> 0:35:39.440
<v Speaker 1>music can have an impact?

0:35:40.160 --> 0:35:44.200
<v Speaker 2>Look? I saw it at a very young age and

0:35:44.280 --> 0:35:47.799
<v Speaker 2>a very surreal experience when Superman became one of the

0:35:47.840 --> 0:35:53.480
<v Speaker 2>songs that recognized the heroes of nine to eleven, became

0:35:53.520 --> 0:35:56.520
<v Speaker 2>a song for the firefighters who ran into those buildings,

0:35:57.239 --> 0:36:01.959
<v Speaker 2>and I saw how music can provide solid in ways

0:36:02.000 --> 0:36:05.319
<v Speaker 2>nothing else can. How, you know, we talk about fame,

0:36:05.400 --> 0:36:10.880
<v Speaker 2>fortune charts, how many tickets can you sell? Celebrity? That

0:36:11.040 --> 0:36:15.239
<v Speaker 2>night at the concert for New York, I think changed me.

0:36:15.600 --> 0:36:17.520
<v Speaker 2>And it wasn't my performance. It was watching the Who

0:36:17.560 --> 0:36:20.040
<v Speaker 2>blow the roof off Madison Square Garden and watching two

0:36:20.239 --> 0:36:24.000
<v Speaker 2>twenty thousand people who'd been down at ground zero crying

0:36:24.080 --> 0:36:27.560
<v Speaker 2>and singing and screaming and been able to release, you know,

0:36:27.680 --> 0:36:31.479
<v Speaker 2>to get the thousands of emails from Israelis who feel

0:36:31.520 --> 0:36:35.440
<v Speaker 2>abandoned by the arts because they have been and they say,

0:36:36.440 --> 0:36:39.520
<v Speaker 2>we thought we were crazy. Why is nobody speaking enough

0:36:39.520 --> 0:36:43.359
<v Speaker 2>for us? We've marched for civil rights, we've done all

0:36:43.360 --> 0:36:46.879
<v Speaker 2>the right things, and we get hit with these atrocities,

0:36:46.920 --> 0:36:52.040
<v Speaker 2>and even Jewish artists can't say release the hostages. So

0:36:53.200 --> 0:36:55.960
<v Speaker 2>I think again, I just wish, to be honest with you,

0:36:56.000 --> 0:36:58.640
<v Speaker 2>I wish I had a bigger platform. I wish some

0:36:58.760 --> 0:37:02.320
<v Speaker 2>of the more artists had written this song. They should

0:37:02.320 --> 0:37:05.560
<v Speaker 2>have written this song, and then I think we'd be

0:37:05.600 --> 0:37:09.439
<v Speaker 2>in a better place, because nothing, nothing moves the needle

0:37:09.480 --> 0:37:12.240
<v Speaker 2>more than the arts, especially for the kids. The kids

0:37:12.239 --> 0:37:15.960
<v Speaker 2>don't watch the news. The kids don't care about speeches

0:37:16.000 --> 0:37:19.200
<v Speaker 2>by politicians. What do they care about. They care about music.

0:37:19.719 --> 0:37:22.319
<v Speaker 2>That's how you cross borders, that's how you change Live

0:37:22.480 --> 0:37:25.719
<v Speaker 2>Sun City Live Aid concert for New York, go down

0:37:25.719 --> 0:37:28.799
<v Speaker 2>the list. That's who we're supposed to be, but that's

0:37:28.840 --> 0:37:32.000
<v Speaker 2>not who we are now. And I think the shame

0:37:33.080 --> 0:37:35.759
<v Speaker 2>is a historical shame on the music business that will

0:37:35.800 --> 0:37:40.000
<v Speaker 2>never be washed clean. But there's still time. There's a

0:37:40.040 --> 0:37:43.560
<v Speaker 2>few folks David Draymond from Disturbed, he's been very brave

0:37:43.600 --> 0:37:46.560
<v Speaker 2>out there. There's been some a few folks in Hollywood,

0:37:46.880 --> 0:37:51.319
<v Speaker 2>Deborah Messing, Patricia Heaton who've been very vocal fighting the

0:37:51.360 --> 0:37:55.840
<v Speaker 2>good fight. But man. The music industry has a lot,

0:37:56.200 --> 0:37:56.680
<v Speaker 2>a lot.

0:37:56.840 --> 0:37:57.080
<v Speaker 1>You know.

0:37:57.200 --> 0:38:00.839
<v Speaker 2>The last image of my video is Martin Luther King

0:38:00.920 --> 0:38:05.880
<v Speaker 2>with his statement silence in the face of evil is complicity,

0:38:05.960 --> 0:38:07.880
<v Speaker 2>and the music business is complicit.

0:38:09.239 --> 0:38:14.400
<v Speaker 1>So with over a number of years these big political

0:38:14.440 --> 0:38:18.240
<v Speaker 1>moments in your career, standing up for what you think

0:38:18.400 --> 0:38:22.319
<v Speaker 1>is right and writing and performing these songs, has it

0:38:22.400 --> 0:38:25.719
<v Speaker 1>helped your career or hurt your career? I know that's

0:38:25.760 --> 0:38:28.640
<v Speaker 1>not why you did it, but with hindsight.

0:38:30.200 --> 0:38:33.920
<v Speaker 2>I think I think it's probably the margins and probably

0:38:34.920 --> 0:38:39.120
<v Speaker 2>hurt more than helped. Certainly, you never know because nobody says, well,

0:38:39.160 --> 0:38:41.200
<v Speaker 2>I'm not going to license your song because I hate

0:38:41.239 --> 0:38:44.000
<v Speaker 2>that you criticize the administration over Afghanistan. They just don't

0:38:44.080 --> 0:38:48.360
<v Speaker 2>license your song. And I have there are folks in

0:38:48.360 --> 0:38:50.319
<v Speaker 2>the music industry that used to take my call that

0:38:50.840 --> 0:38:53.399
<v Speaker 2>won't take my call. I'm also you know, look, I mean,

0:38:53.600 --> 0:38:56.319
<v Speaker 2>I'm going to be sixty years old. I've had my run,

0:38:56.360 --> 0:38:59.200
<v Speaker 2>and I'm on the backside of my career, and I

0:38:59.239 --> 0:39:02.239
<v Speaker 2>think a lot of folks are very I know for

0:39:02.280 --> 0:39:05.120
<v Speaker 2>a fact that there are folks unhappy with me within

0:39:05.320 --> 0:39:08.200
<v Speaker 2>the music industry. On the other hand, there are some

0:39:08.320 --> 0:39:11.839
<v Speaker 2>folks who are very grateful. I hear from music executives

0:39:13.160 --> 0:39:16.280
<v Speaker 2>who are Jewish and some who are not, who sometimes

0:39:16.360 --> 0:39:20.400
<v Speaker 2>are in tears because they also are very frustrated and

0:39:20.520 --> 0:39:23.240
<v Speaker 2>upset by the fact that the music industry has remained silent.

0:39:23.280 --> 0:39:25.880
<v Speaker 2>There's a group out here called the Creative Coalition for

0:39:25.960 --> 0:39:30.200
<v Speaker 2>Peace with many music executives, managers, you know, the Scooter

0:39:30.239 --> 0:39:34.359
<v Speaker 2>Braun folks like that, who who have been speaking up

0:39:34.360 --> 0:39:40.160
<v Speaker 2>and in my mind, fighting the good fight. But yeah,

0:39:40.200 --> 0:39:41.880
<v Speaker 2>I mean, at this point in my career, to be

0:39:41.880 --> 0:39:45.520
<v Speaker 2>honest with you, it's you know, I really don't even

0:39:45.560 --> 0:39:47.880
<v Speaker 2>think about it. You know, when you talk to hostage families,

0:39:48.400 --> 0:39:51.040
<v Speaker 2>you look them in the eye and you hear their stories.

0:39:51.360 --> 0:39:54.000
<v Speaker 2>Like anybody who doesn't buy a ticket, or buy a record,

0:39:54.480 --> 0:39:56.760
<v Speaker 2>or you know, license a song of mine, It seems

0:39:56.800 --> 0:39:59.640
<v Speaker 2>so silly and trivial. But I don't think it's had

0:39:59.640 --> 0:40:00.919
<v Speaker 2>a huge impact either way.

0:40:00.960 --> 0:40:13.279
<v Speaker 1>Really, Okay, talking about your fellow artists, why do you

0:40:13.520 --> 0:40:17.240
<v Speaker 1>think they will not go on record? And what would

0:40:17.239 --> 0:40:18.400
<v Speaker 1>you tell them?

0:40:20.239 --> 0:40:25.240
<v Speaker 2>I would tell them this. I understand that you're scared.

0:40:26.520 --> 0:40:31.320
<v Speaker 2>I understand that you're scared for your families. I understand

0:40:31.640 --> 0:40:36.560
<v Speaker 2>that you don't want your concerts protested. I understand that

0:40:36.680 --> 0:40:40.080
<v Speaker 2>because I'm living some of that. But I'd also say

0:40:40.120 --> 0:40:43.560
<v Speaker 2>to you is the same arguments were used in nineteen

0:40:43.600 --> 0:40:49.600
<v Speaker 2>thirty eight. Good people were quiet when they should have

0:40:50.040 --> 0:40:55.319
<v Speaker 2>spoken out. You don't have to love Israel. You don't

0:40:55.320 --> 0:40:59.040
<v Speaker 2>have to. You could it's not even about Israel. But

0:40:59.120 --> 0:41:01.560
<v Speaker 2>how hard is it to say, release the hostages Hamas

0:41:01.640 --> 0:41:06.680
<v Speaker 2>is evil and stand for good against what is happening,

0:41:06.680 --> 0:41:13.040
<v Speaker 2>to support Jewish people in their time of need. That

0:41:13.200 --> 0:41:16.440
<v Speaker 2>should not be a political calculation. It should be a

0:41:16.520 --> 0:41:20.000
<v Speaker 2>moral calculation. And if it was any other group, like

0:41:20.040 --> 0:41:23.279
<v Speaker 2>you said, Bob, pretty much all of the artists that

0:41:23.320 --> 0:41:25.840
<v Speaker 2>we know who like to get out on their soapboxes,

0:41:25.840 --> 0:41:31.200
<v Speaker 2>we'll be out there screaming, you know, speaking for Muslim,

0:41:31.239 --> 0:41:34.399
<v Speaker 2>speaking for African Americans, speaking for gain inlisting people as

0:41:34.440 --> 0:41:39.120
<v Speaker 2>they should be. But for some reason, because it's Jewish people,

0:41:40.160 --> 0:41:42.200
<v Speaker 2>we have to ask ourselves and really look in our

0:41:42.239 --> 0:41:45.319
<v Speaker 2>hearts and look in the mirror and say who are we?

0:41:46.080 --> 0:41:49.160
<v Speaker 2>Are we the people we thought we were? And if

0:41:49.160 --> 0:41:53.359
<v Speaker 2>we are, shouldn't we should we not be speaking out

0:41:53.600 --> 0:41:59.040
<v Speaker 2>standing up, using our platforms, moving the needle. Whether you

0:41:59.040 --> 0:42:02.719
<v Speaker 2>care about Israeli Palestinian people are not. It's the best

0:42:02.719 --> 0:42:05.319
<v Speaker 2>thing for them, and it's the best thing for us,

0:42:05.960 --> 0:42:09.040
<v Speaker 2>because the Jewish people are always on the front tip

0:42:09.080 --> 0:42:11.840
<v Speaker 2>of the spear, and the people trying to bring the

0:42:11.880 --> 0:42:14.120
<v Speaker 2>world down are not going to stop there. They're going

0:42:14.200 --> 0:42:16.200
<v Speaker 2>to come for all of us, all of us who

0:42:16.280 --> 0:42:22.120
<v Speaker 2>value freedom, democracy, and us songwriters the ability to write

0:42:22.280 --> 0:42:24.120
<v Speaker 2>and say what we want to say.

0:42:25.200 --> 0:42:30.240
<v Speaker 1>Okay, I found out about your song via a large

0:42:30.320 --> 0:42:35.120
<v Speaker 1>piece prominently placed in the Wall Street Journal. I'm interested

0:42:35.120 --> 0:42:38.879
<v Speaker 1>in how that happened, but I'm more interested since that

0:42:39.120 --> 0:42:41.760
<v Speaker 1>was published, what effect have you felt.

0:42:44.000 --> 0:42:48.719
<v Speaker 2>Yeah, it was surreal, I'll tell you that much. It's

0:42:48.760 --> 0:42:53.000
<v Speaker 2>certainly given me a bigger platform. People have reached out

0:42:53.040 --> 0:42:57.600
<v Speaker 2>to me, and people have found the song. They have

0:42:57.680 --> 0:43:01.720
<v Speaker 2>found the Hasta Square performance. More recently, they have found

0:43:01.760 --> 0:43:04.960
<v Speaker 2>the speech at UCLA. So I think it has given

0:43:05.000 --> 0:43:08.760
<v Speaker 2>me a little more capital to basically spread my message.

0:43:09.920 --> 0:43:11.520
<v Speaker 2>I'm a big fan of the Wall Street Journal. It

0:43:11.560 --> 0:43:16.280
<v Speaker 2>was very surreal seeing myself on that page. When Matthew

0:43:16.280 --> 0:43:18.520
<v Speaker 2>Hennessy reached out to me. He actually reached out to

0:43:18.520 --> 0:43:21.880
<v Speaker 2>me a month or so ago, and and we were

0:43:21.880 --> 0:43:23.440
<v Speaker 2>going to talk early. But when he found out I

0:43:23.440 --> 0:43:26.200
<v Speaker 2>was going to Israel. He wanted to wait to see

0:43:26.200 --> 0:43:28.640
<v Speaker 2>what happened, and I'm glad he did. He flew to Seattle.

0:43:29.400 --> 0:43:31.439
<v Speaker 2>He flew across the country to Seattle, and we sat

0:43:31.440 --> 0:43:34.200
<v Speaker 2>in a hotel room and talked for three hours. But

0:43:35.920 --> 0:43:39.160
<v Speaker 2>you know, the whole lone Voice for Israel thing has resonated,

0:43:39.360 --> 0:43:42.920
<v Speaker 2>and I think it has. It has. It has annoyed

0:43:42.960 --> 0:43:44.640
<v Speaker 2>some people in the music business. I know for a

0:43:44.680 --> 0:43:46.880
<v Speaker 2>fact it has, because I've heard about that it has.

0:43:47.360 --> 0:43:50.240
<v Speaker 2>It has some people put some people on notes. So again,

0:43:51.120 --> 0:43:55.360
<v Speaker 2>hopefully you know some of these these articles and some

0:43:55.480 --> 0:43:59.040
<v Speaker 2>of these speeches, and in our conversation here this is

0:43:59.520 --> 0:44:01.759
<v Speaker 2>we'll reach more people in the music business in this

0:44:01.880 --> 0:44:05.839
<v Speaker 2>two hours with you than seven months of press. I

0:44:05.880 --> 0:44:09.560
<v Speaker 2>hope folks that are listening to this podcast are open

0:44:09.560 --> 0:44:13.279
<v Speaker 2>minded enough to maybe think twice and maybe join some

0:44:13.320 --> 0:44:17.840
<v Speaker 2>of these efforts I'm doing collaborating with international artists, Ukrainian artists,

0:44:17.920 --> 0:44:24.000
<v Speaker 2>Iranian artists. Is rarely artists to really speak for freedom,

0:44:24.320 --> 0:44:27.600
<v Speaker 2>human rights, because that is who we are as an industry.

0:44:27.920 --> 0:44:32.319
<v Speaker 2>And I think there's still time to speak for that

0:44:33.360 --> 0:44:36.040
<v Speaker 2>because if we don't, as I said, history will judge us,

0:44:36.080 --> 0:44:38.200
<v Speaker 2>and right now, it's not a good judgment.

0:44:39.480 --> 0:44:43.320
<v Speaker 1>You referenced earlier some of the blowback. This is something

0:44:43.400 --> 0:44:47.319
<v Speaker 1>I experience every day. But what has it been, like

0:44:47.480 --> 0:44:51.840
<v Speaker 1>everybody's reachable on social media, etc. What has been the

0:44:51.960 --> 0:44:54.520
<v Speaker 1>character and volume of the negative feedback?

0:44:55.840 --> 0:44:58.400
<v Speaker 2>You know, it's mostly just social media, probably many of

0:44:58.400 --> 0:45:01.640
<v Speaker 2>its are bots, and you know, you'll never be okay again.

0:45:01.760 --> 0:45:04.439
<v Speaker 2>And I know where you live, and you know, kind

0:45:04.480 --> 0:45:08.400
<v Speaker 2>of just the the typical victory all you get on

0:45:08.480 --> 0:45:13.480
<v Speaker 2>social media. You know, I've had a few emails from

0:45:13.640 --> 0:45:18.960
<v Speaker 2>from people that are kind of off the rocker, but

0:45:20.080 --> 0:45:23.120
<v Speaker 2>so far I haven't had like what modis Modist Yahu

0:45:23.160 --> 0:45:26.480
<v Speaker 2>has had or Michael Rappinport just had to have his

0:45:26.600 --> 0:45:30.160
<v Speaker 2>show's canceled. I haven't experienced kind of mobs showing up

0:45:30.200 --> 0:45:32.239
<v Speaker 2>at my shows, you know, trying to shut us down.

0:45:32.719 --> 0:45:35.560
<v Speaker 2>So we'll see what happens. I'm going to start doing

0:45:35.600 --> 0:45:39.920
<v Speaker 2>some concert tours on on campuses and speaking on campus

0:45:39.960 --> 0:45:43.239
<v Speaker 2>and supporting the Jewish kids. And I do think the

0:45:43.280 --> 0:45:45.960
<v Speaker 2>tides turning a little bit. You see you see students

0:45:46.000 --> 0:45:50.080
<v Speaker 2>standing up to the mobs, you see Americans. Just the

0:45:50.120 --> 0:45:53.880
<v Speaker 2>response to my UCLA speech has been overwhelming. So I

0:45:53.880 --> 0:45:56.600
<v Speaker 2>think a lot of people are are standing up and say, Okay,

0:45:56.600 --> 0:45:59.080
<v Speaker 2>we have to push back on this, not just for

0:45:59.120 --> 0:46:01.720
<v Speaker 2>the sake of us, but for the sake of those kids,

0:46:02.200 --> 0:46:05.279
<v Speaker 2>those college kids who have been indoctrinated, who've been brainwashed,

0:46:05.320 --> 0:46:08.120
<v Speaker 2>who've been indoctrinated into this cult. We need to we

0:46:08.160 --> 0:46:12.719
<v Speaker 2>need to save them too. So so we'll see what happens,

0:46:12.960 --> 0:46:16.640
<v Speaker 2>you know, I I I imagine at some point there'll

0:46:16.680 --> 0:46:20.800
<v Speaker 2>be some you know, pushback, but uh, as I said,

0:46:20.880 --> 0:46:23.399
<v Speaker 2>it's it's the right thing to do. And if you're

0:46:23.400 --> 0:46:25.640
<v Speaker 2>not pissing someone off, you're probably not doing anything to

0:46:25.640 --> 0:46:26.040
<v Speaker 2>begin with.

0:46:27.680 --> 0:46:32.320
<v Speaker 1>You are an alumnus of UCLA. How did your speech

0:46:32.400 --> 0:46:35.799
<v Speaker 1>there happen and what was the experience in terms of

0:46:35.840 --> 0:46:37.200
<v Speaker 1>attendance protest?

0:46:38.840 --> 0:46:41.719
<v Speaker 2>Yeah, well after you know, kind of the antarcrete anarchy

0:46:41.760 --> 0:46:48.440
<v Speaker 2>we saw on that Tuesday night. Uh, the American Jewish Committee, Uh,

0:46:48.600 --> 0:46:52.120
<v Speaker 2>the ADL, we're planning to do a press conference on

0:46:52.200 --> 0:46:56.160
<v Speaker 2>campus the friday after they finally cleared the encampment, and

0:46:56.200 --> 0:46:58.640
<v Speaker 2>they asked me to come play my song and to

0:46:58.680 --> 0:47:04.120
<v Speaker 2>speak a little bit. Because of the security risk, we

0:47:04.120 --> 0:47:07.960
<v Speaker 2>were not allowed on campus. So at the HELLL across

0:47:07.960 --> 0:47:11.080
<v Speaker 2>the street from UCLA. We held a press conference and

0:47:11.120 --> 0:47:15.360
<v Speaker 2>a few people spoke, and I spoke, and along with

0:47:15.400 --> 0:47:18.880
<v Speaker 2>the UCLA professor, a Jewish professor who talked about his

0:47:19.040 --> 0:47:26.000
<v Speaker 2>horrible experience, Jonah Platt, spoke and I basically said what

0:47:26.040 --> 0:47:29.120
<v Speaker 2>we've been talking about, that if this was this was

0:47:29.560 --> 0:47:31.879
<v Speaker 2>Muslims under attack, it would not be happening. So why

0:47:32.000 --> 0:47:34.520
<v Speaker 2>why is it with with Jewish people? Why do you

0:47:34.560 --> 0:47:36.800
<v Speaker 2>allow this? And I also gave a message to the

0:47:37.200 --> 0:47:40.560
<v Speaker 2>kids and let them know that you know, they're not

0:47:40.640 --> 0:47:44.759
<v Speaker 2>alone in this, and they have support and and my

0:47:44.800 --> 0:47:47.200
<v Speaker 2>heart breaks for them. So that's kind of how it

0:47:47.200 --> 0:47:49.240
<v Speaker 2>came to be. I didn't expect it to go viral

0:47:49.440 --> 0:47:53.960
<v Speaker 2>on social media, but again I think we have to

0:47:54.000 --> 0:47:56.520
<v Speaker 2>go on offense. We can't just sit back and go, oh,

0:47:56.560 --> 0:47:58.960
<v Speaker 2>this is terrible. Look what's happening to our campus is

0:47:59.000 --> 0:48:00.960
<v Speaker 2>what's happening to our kids. A lot of these folks

0:48:00.960 --> 0:48:03.239
<v Speaker 2>are just bullies. You need to confront them. You need

0:48:03.239 --> 0:48:05.960
<v Speaker 2>to confront them. You need to teach the kids facts.

0:48:07.440 --> 0:48:10.640
<v Speaker 2>You need to have debates, you need to stand in

0:48:10.680 --> 0:48:13.759
<v Speaker 2>front of the bullies and speak your piece. You need

0:48:13.800 --> 0:48:16.680
<v Speaker 2>to go to MIT. I may go to mit next week,

0:48:17.120 --> 0:48:19.040
<v Speaker 2>and you need to perform. You need to sing songs,

0:48:19.080 --> 0:48:21.480
<v Speaker 2>you need to stand with people. I'll be performing in

0:48:21.520 --> 0:48:25.200
<v Speaker 2>a synagogue here in Los Angeles on Monday, so I

0:48:25.200 --> 0:48:29.160
<v Speaker 2>think we need to keep singing, standing together. You know,

0:48:29.200 --> 0:48:31.480
<v Speaker 2>we're the ones who don't wear masks. You know why,

0:48:31.560 --> 0:48:34.480
<v Speaker 2>because we're not ashamed. I think the folks that do

0:48:34.520 --> 0:48:38.120
<v Speaker 2>wear masks, they know deep down that what they're doing

0:48:38.280 --> 0:48:42.640
<v Speaker 2>is wrong. So we need to address that. And as

0:48:42.680 --> 0:48:45.520
<v Speaker 2>I said from the beginning, nobody does that better than

0:48:45.600 --> 0:48:49.440
<v Speaker 2>artists with music. So I'm asking, who's ever listening to this,

0:48:49.640 --> 0:48:53.439
<v Speaker 2>you know, reach out to me, join my cause, join

0:48:53.520 --> 0:48:56.320
<v Speaker 2>this cause. It's not my cause, it's our cause, and

0:48:56.760 --> 0:49:00.600
<v Speaker 2>lend your voice to speaking up for good versus this

0:49:01.200 --> 0:49:05.160
<v Speaker 2>kind of moral rot that's infected our kids on campus.

0:49:06.120 --> 0:49:09.040
<v Speaker 1>Okay. In the Wall Street Journal, there was something that

0:49:09.120 --> 0:49:12.640
<v Speaker 1>I did not know previously that you're involved with the

0:49:12.719 --> 0:49:15.960
<v Speaker 1>family business. Can you tell us about the family business

0:49:16.000 --> 0:49:16.920
<v Speaker 1>and your involvement.

0:49:17.680 --> 0:49:19.879
<v Speaker 2>Yeah, well, thank you for asking. I have a very

0:49:19.920 --> 0:49:24.760
<v Speaker 2>strange life. As a kid, I worked at our family business,

0:49:24.800 --> 0:49:28.279
<v Speaker 2>Precision Wire Products, at fourteen on the line. Are claim

0:49:28.320 --> 0:49:30.840
<v Speaker 2>to fame as we make the best shopping cart in

0:49:30.880 --> 0:49:34.120
<v Speaker 2>the world, Bob. If you shop at Costco, you use

0:49:34.239 --> 0:49:37.640
<v Speaker 2>our shopping cart. And I've worked there my whole life.

0:49:38.120 --> 0:49:42.840
<v Speaker 2>My dad still ucla graduate astrophysicist. He still runs Precision

0:49:42.880 --> 0:49:46.000
<v Speaker 2>Wire eighty five years old. My son works there. Even

0:49:46.040 --> 0:49:48.560
<v Speaker 2>when I had the number one song hot a C

0:49:48.719 --> 0:49:51.680
<v Speaker 2>song in the country, I was working at Precision Wire.

0:49:52.200 --> 0:49:55.320
<v Speaker 2>And the great thing about it is a couple things.

0:49:55.400 --> 0:49:58.800
<v Speaker 2>One It keeps you grounded. You know, this celebrity world

0:49:58.840 --> 0:50:01.319
<v Speaker 2>we live in can be prey shallow. Sometimes it can

0:50:01.360 --> 0:50:03.680
<v Speaker 2>be a shallow pool. But when you go when you

0:50:03.719 --> 0:50:07.560
<v Speaker 2>see people sweating and making things, and you see the

0:50:07.560 --> 0:50:11.279
<v Speaker 2>American dream where people start at minimum wage and twenty

0:50:11.360 --> 0:50:14.840
<v Speaker 2>years later they're putting their kids through Stanford and Princeton.

0:50:15.920 --> 0:50:19.120
<v Speaker 2>When you make things and you have to make a payroll,

0:50:19.680 --> 0:50:22.160
<v Speaker 2>I think it grounds you. And I think it's been

0:50:22.280 --> 0:50:24.880
<v Speaker 2>very helpful for me. And maybe that's why I have

0:50:24.920 --> 0:50:27.680
<v Speaker 2>a little different world view and many of my friends

0:50:28.239 --> 0:50:31.040
<v Speaker 2>in the music business, because I have this other life.

0:50:31.480 --> 0:50:34.160
<v Speaker 2>You know. Sometimes I'll go into a town and I'll

0:50:34.200 --> 0:50:37.160
<v Speaker 2>have a meeting with Albertson's at two o'clock, and I'll

0:50:37.160 --> 0:50:39.560
<v Speaker 2>be playing a gig at seven o'clock. You know, at

0:50:39.600 --> 0:50:42.759
<v Speaker 2>the local theater. So it's very strange. But I love

0:50:42.800 --> 0:50:46.560
<v Speaker 2>working with my dad. He's my hero, and I think

0:50:46.600 --> 0:50:48.760
<v Speaker 2>it gives me a different kind of look at the world.

0:50:48.840 --> 0:50:51.799
<v Speaker 2>And if you ever need a shopping car, Bob, you

0:50:51.800 --> 0:50:52.279
<v Speaker 2>know a guy.

0:50:53.120 --> 0:50:58.200
<v Speaker 1>Okay, in the world of shopping carts, your family business

0:50:58.280 --> 0:51:00.720
<v Speaker 1>has what percentage of the nash market?

0:51:03.520 --> 0:51:06.080
<v Speaker 2>That's a question I did not expect on this podcast.

0:51:06.960 --> 0:51:12.439
<v Speaker 2>We're there's three domestic manufacturers we're we're the third. Well,

0:51:12.440 --> 0:51:14.440
<v Speaker 2>we make about four hundred thousand to a half a

0:51:14.440 --> 0:51:16.720
<v Speaker 2>million shopping carts a year. We just opened a new

0:51:17.000 --> 0:51:20.759
<v Speaker 2>facility in Texas to expand our capacity. But we also

0:51:20.840 --> 0:51:24.040
<v Speaker 2>make things like the racks in a seven eleven where

0:51:24.040 --> 0:51:27.120
<v Speaker 2>you buy the sodas behind the refrigerator doors. So but

0:51:27.200 --> 0:51:30.760
<v Speaker 2>it's you know, it's just it's really American small family

0:51:30.800 --> 0:51:33.920
<v Speaker 2>business and we have four hundred employees, many of them

0:51:34.000 --> 0:51:36.600
<v Speaker 2>have been with us. We had a lunch a few

0:51:36.640 --> 0:51:39.440
<v Speaker 2>weeks ago where we had thirty people who'd been with

0:51:39.520 --> 0:51:41.719
<v Speaker 2>us over thirty years and we realized we had one

0:51:41.719 --> 0:51:45.960
<v Speaker 2>thousand hours of folks at that table. So it's really

0:51:46.000 --> 0:51:49.239
<v Speaker 2>truly a family business, not just me, my dad, my son,

0:51:49.760 --> 0:51:52.799
<v Speaker 2>my sister. It's it's everybody who works there, and it's

0:51:52.840 --> 0:51:55.000
<v Speaker 2>a beautiful thing. And as I said, my dad at

0:51:55.000 --> 0:51:57.359
<v Speaker 2>eighty five, he works seventy hours a week. He goes

0:51:57.400 --> 0:52:01.080
<v Speaker 2>in every day, and it's just, you know, it's not

0:52:01.120 --> 0:52:05.080
<v Speaker 2>easy to run a business in California, but we're really

0:52:05.080 --> 0:52:05.640
<v Speaker 2>proud of it.

0:52:06.600 --> 0:52:09.040
<v Speaker 1>What's the lifespan of a shopping cart?

0:52:10.280 --> 0:52:13.160
<v Speaker 2>Typically five to six years. If you left one in

0:52:13.239 --> 0:52:16.880
<v Speaker 2>a store, they'd probably last forever. Usually what happens is

0:52:16.920 --> 0:52:18.880
<v Speaker 2>they get out in the parking lots and the parking

0:52:18.880 --> 0:52:22.759
<v Speaker 2>lots aren't great. Everybody complains about shopping cart wheels. They're

0:52:22.760 --> 0:52:26.040
<v Speaker 2>actually pretty good wheels, they just get abused. Our carts

0:52:26.560 --> 0:52:30.520
<v Speaker 2>last longer. My dad was an astrophysicist. He worked at NASA.

0:52:30.600 --> 0:52:33.000
<v Speaker 2>He's an engineer, so he was able to redesign the

0:52:33.040 --> 0:52:36.239
<v Speaker 2>shopping cart and the machines that make them. He was

0:52:36.280 --> 0:52:40.799
<v Speaker 2>building computers on our dinner table forty years ago to

0:52:40.880 --> 0:52:43.759
<v Speaker 2>run his machines, and I often think if he just

0:52:43.880 --> 0:52:47.319
<v Speaker 2>marketed those computers, our conversation would be much different right now.

0:52:47.760 --> 0:52:52.239
<v Speaker 2>But yeah, it's typically five to seven years. Is a

0:52:52.280 --> 0:52:52.879
<v Speaker 2>shopping cart?

0:52:53.960 --> 0:52:56.680
<v Speaker 1>How much time do you dedicate to the company at

0:52:56.680 --> 0:52:57.440
<v Speaker 1>this point.

0:52:58.719 --> 0:53:03.719
<v Speaker 2>During COVID, basically my whole, my whole kind of bandwidth

0:53:03.760 --> 0:53:08.080
<v Speaker 2>was Precision Wire. My dad had to quant quarantine. We Uh,

0:53:08.320 --> 0:53:11.080
<v Speaker 2>we had many people very sick. We were kind of

0:53:11.080 --> 0:53:15.080
<v Speaker 2>ground zero for COVID in Los Angeles, East LA. And uh,

0:53:15.400 --> 0:53:17.200
<v Speaker 2>my dad couldn't come in for a couple of years. Certainly,

0:53:17.239 --> 0:53:19.400
<v Speaker 2>our sales went down. We were an essential business, so

0:53:19.440 --> 0:53:22.399
<v Speaker 2>we never stopped so so those couple of years were

0:53:22.440 --> 0:53:25.919
<v Speaker 2>really tough, really tough, you know, driving in at five

0:53:25.960 --> 0:53:29.960
<v Speaker 2>in the morning, taking temperatures, trying to get people through it.

0:53:29.960 --> 0:53:32.919
<v Speaker 2>It was hard on me. I finally got some help.

0:53:32.960 --> 0:53:35.759
<v Speaker 2>I got got therapist to help me, got a little

0:53:35.800 --> 0:53:39.120
<v Speaker 2>medicine so I could sleep. It was. It was the

0:53:39.160 --> 0:53:41.200
<v Speaker 2>most challenging thing that's happened in my life. And we

0:53:41.280 --> 0:53:44.879
<v Speaker 2>got through that. These days, I talked to my dad

0:53:44.880 --> 0:53:46.880
<v Speaker 2>and I talked to our GM four or five times

0:53:46.880 --> 0:53:49.680
<v Speaker 2>a day. I probably do half of my zooms or

0:53:50.080 --> 0:53:54.359
<v Speaker 2>music related and certainly now kind of Israel related, and

0:53:54.400 --> 0:53:59.640
<v Speaker 2>half our Precision Wire. It's very strange, but but it's great.

0:53:59.680 --> 0:54:02.000
<v Speaker 2>I love it. I go to Texas often because of

0:54:02.040 --> 0:54:04.600
<v Speaker 2>our new plant. But yeah, yesterday I was there having

0:54:04.640 --> 0:54:07.040
<v Speaker 2>lunch with my dad and I'll be there tomorrow. So

0:54:07.640 --> 0:54:09.680
<v Speaker 2>it's kind of two worlds colliding.

0:54:10.680 --> 0:54:15.640
<v Speaker 1>And could you survive financially just on your music.

0:54:16.680 --> 0:54:20.480
<v Speaker 2>Yes, I've been very fortunate. Both one hundred Years and

0:54:20.600 --> 0:54:25.400
<v Speaker 2>Superman have stood the test of time, and for whatever reason,

0:54:25.640 --> 0:54:27.600
<v Speaker 2>you know, people still want to buy a ticket. I

0:54:27.640 --> 0:54:29.400
<v Speaker 2>had the greatest time in my life touring with the

0:54:29.440 --> 0:54:32.759
<v Speaker 2>Bare Naked Ladies last year. It was basically rock star

0:54:32.920 --> 0:54:36.520
<v Speaker 2>dad Camp. We had so much fun, you know, playing,

0:54:36.600 --> 0:54:41.880
<v Speaker 2>and ever since the pandemic, I've I've really treasured performing

0:54:42.080 --> 0:54:45.560
<v Speaker 2>with my string quartet with the rock band. And fortunately

0:54:46.200 --> 0:54:48.239
<v Speaker 2>I've I've had a lot of licenses in my day,

0:54:48.320 --> 0:54:52.120
<v Speaker 2>and I've I've also been pretty frugal too. I think

0:54:52.120 --> 0:54:54.839
<v Speaker 2>it was helpful for me that I had success late.

0:54:55.360 --> 0:54:57.160
<v Speaker 2>You know, Superman didn't become a hit till I was

0:54:57.160 --> 0:55:01.000
<v Speaker 2>in my late twenties, so I knew that it wasn't

0:55:01.040 --> 0:55:03.920
<v Speaker 2>about me and that this could be very fleeting, so

0:55:04.040 --> 0:55:08.280
<v Speaker 2>you know, save your money and invest wisely. And also

0:55:08.320 --> 0:55:11.120
<v Speaker 2>because Fire for Fighting is not a band too, you know,

0:55:11.160 --> 0:55:14.000
<v Speaker 2>I don't have to deal with the dynamic of other songwriters,

0:55:14.040 --> 0:55:17.279
<v Speaker 2>other musicians. But yes, you know, I don't know if

0:55:17.280 --> 0:55:19.839
<v Speaker 2>I could afford living California for the next thirty years,

0:55:19.840 --> 0:55:21.400
<v Speaker 2>but I'd be all right.

0:55:22.200 --> 0:55:25.960
<v Speaker 1>And no one lives forever. When your father ultimately goes

0:55:26.000 --> 0:55:32.799
<v Speaker 1>into the sunset, does that mean you run the business.

0:55:30.760 --> 0:55:35.200
<v Speaker 2>For better or worse? My friend? Yeah, Now, as I said,

0:55:35.200 --> 0:55:38.960
<v Speaker 2>I think I don't really have the skill set or

0:55:39.000 --> 0:55:41.000
<v Speaker 2>the bandwidth to run the day to day. I think

0:55:41.120 --> 0:55:44.480
<v Speaker 2>I would certainly kind of oversee things. We have an

0:55:44.480 --> 0:55:48.319
<v Speaker 2>amazing young GM his name's Paul Nova, thirty years old,

0:55:48.880 --> 0:55:52.080
<v Speaker 2>who would be a great president. We're putting management in place.

0:55:52.800 --> 0:55:55.560
<v Speaker 2>We're certainly going to run Precision Wire for as long

0:55:55.600 --> 0:55:59.799
<v Speaker 2>as we can, for hopefully decades, and that legacy will

0:55:59.800 --> 0:56:02.520
<v Speaker 2>con you. But I think it's you know, it's it's

0:56:02.520 --> 0:56:05.080
<v Speaker 2>only fair to myself that I should still be able

0:56:05.120 --> 0:56:09.680
<v Speaker 2>to do what I love to write to perform, especially

0:56:09.719 --> 0:56:14.960
<v Speaker 2>seeing how these songs are resonated. I feel invigorated. I'm

0:56:15.000 --> 0:56:18.400
<v Speaker 2>excited about songwriting. I love performing more now than I

0:56:18.440 --> 0:56:21.720
<v Speaker 2>have in twenty years. So hopefully I'll find a balance

0:56:21.760 --> 0:56:24.440
<v Speaker 2>where I can do both. But yeah, I will be

0:56:24.560 --> 0:56:28.880
<v Speaker 2>that guy, and I do have a son, so hopefully

0:56:28.920 --> 0:56:31.080
<v Speaker 2>I can pass that baton off to him as soon

0:56:31.080 --> 0:56:31.680
<v Speaker 2>as possible.

0:56:32.480 --> 0:56:36.000
<v Speaker 1>Okay, So let's go to your musical history. At what

0:56:36.200 --> 0:56:39.160
<v Speaker 1>point do you start playing an instrument and is there

0:56:39.320 --> 0:56:43.080
<v Speaker 1>music in the house. What were the musical influences and input.

0:56:44.080 --> 0:56:47.880
<v Speaker 2>Yeah, mom was a music teacher USC graduate. She started me.

0:56:48.000 --> 0:56:50.520
<v Speaker 2>She started me at the piano at very young two

0:56:50.640 --> 0:56:54.560
<v Speaker 2>years old, and when music funding was cut in our

0:56:55.160 --> 0:56:59.279
<v Speaker 2>local schools, she took over and started putting on full musicals.

0:56:59.320 --> 0:57:02.279
<v Speaker 2>I was Tony in West Side Story. Whether that was

0:57:02.280 --> 0:57:04.839
<v Speaker 2>because I was my mom's son or I was any good,

0:57:04.960 --> 0:57:08.399
<v Speaker 2>we don't know. But and then she was wise. When

0:57:08.400 --> 0:57:11.960
<v Speaker 2>I was thirteen, she let me quit, but by then

0:57:12.000 --> 0:57:15.560
<v Speaker 2>I had the fundamentals and I started writing songs because

0:57:15.600 --> 0:57:18.040
<v Speaker 2>I loved writing songs. And I bought a all you

0:57:18.040 --> 0:57:21.479
<v Speaker 2>know at the time, a new TC half inch reel

0:57:21.520 --> 0:57:23.880
<v Speaker 2>to reel and a little mixing board, and I started

0:57:23.880 --> 0:57:27.600
<v Speaker 2>writing songs. And when I was sixteen, I had a

0:57:27.640 --> 0:57:31.240
<v Speaker 2>mission to go find Steve Perry's voice teacher, which I did,

0:57:31.560 --> 0:57:34.520
<v Speaker 2>a guy named Ron Anderson, and I started training classically

0:57:34.560 --> 0:57:37.120
<v Speaker 2>as a vocalist. And it was funny all the rock

0:57:37.160 --> 0:57:39.760
<v Speaker 2>stars would be coming through his through his you know

0:57:39.840 --> 0:57:45.240
<v Speaker 2>teaching studio. Axel rose Don Dawkin. I met Rudy Sarzo

0:57:45.400 --> 0:57:47.240
<v Speaker 2>believe it or not, at a at a at a

0:57:47.280 --> 0:57:51.840
<v Speaker 2>pool one day, Rudy Sarzo of Azzy Fame, Quiet Riot,

0:57:52.480 --> 0:57:54.440
<v Speaker 2>White Snake. At the time, he was in White Snake

0:57:54.880 --> 0:57:58.680
<v Speaker 2>and he became a mentor of mine, and I started

0:57:58.720 --> 0:58:01.560
<v Speaker 2>going to the studio recording songs. I met a guy

0:58:01.600 --> 0:58:06.680
<v Speaker 2>named Scott Sheets, who was Pat Benatar's guitar player, and

0:58:07.120 --> 0:58:09.600
<v Speaker 2>we formed a band called John Scott And it was

0:58:09.680 --> 0:58:12.479
<v Speaker 2>me and all the ex members of Pat Benatar's band.

0:58:12.520 --> 0:58:15.400
<v Speaker 2>They were forty. I was twenty two, and we were

0:58:15.440 --> 0:58:17.680
<v Speaker 2>writing songs and I was living the dream. And I

0:58:17.720 --> 0:58:21.640
<v Speaker 2>was kind of trailing around White Snake like almost famous.

0:58:21.640 --> 0:58:24.160
<v Speaker 2>I was a little kid, and r Rudy would say, well,

0:58:24.200 --> 0:58:25.640
<v Speaker 2>you can go in that room, but don't go in

0:58:25.680 --> 0:58:29.840
<v Speaker 2>that room. And and and then this little band came,

0:58:29.960 --> 0:58:33.920
<v Speaker 2>you know, called Nirvana came out, and as you know, let's.

0:58:33.720 --> 0:58:38.240
<v Speaker 1>Slow down in the beginning. So you're in school. Are

0:58:38.280 --> 0:58:40.880
<v Speaker 1>you the known as the kid who plays the piano

0:58:41.640 --> 0:58:44.880
<v Speaker 1>or are you playing sports? You're popular? You're not popular?

0:58:46.800 --> 0:58:47.000
<v Speaker 1>You know.

0:58:47.200 --> 0:58:49.919
<v Speaker 2>I did play sports. I played basketball, wasn't very good,

0:58:50.840 --> 0:58:55.280
<v Speaker 2>but I also was the guy, you know, when at

0:58:55.280 --> 0:58:59.240
<v Speaker 2>the party that would sing Somebody to Love just to

0:58:59.280 --> 0:59:01.440
<v Speaker 2>get a girl to talk to me, you know, just

0:59:01.560 --> 0:59:04.680
<v Speaker 2>you know, I'd bring my guitar and sing, you know, peaceful,

0:59:04.720 --> 0:59:07.520
<v Speaker 2>easy feeling or you know, Ebony and Ivory or whatever,

0:59:07.600 --> 0:59:10.760
<v Speaker 2>you know, whatever song it was those days. And you

0:59:10.760 --> 0:59:13.000
<v Speaker 2>know when I went to college, when I went to UCLA,

0:59:13.960 --> 0:59:17.560
<v Speaker 2>I wasn't a music major. I was a applied mathematics major.

0:59:17.600 --> 0:59:19.440
<v Speaker 2>I kind of had my dad's you know, kind of

0:59:20.280 --> 0:59:23.760
<v Speaker 2>genes for that because I wanted a job, you know,

0:59:23.880 --> 0:59:27.840
<v Speaker 2>when this whole music thing imploded. And I still may

0:59:27.920 --> 0:59:30.040
<v Speaker 2>need that music in that math degree one day, but

0:59:30.080 --> 0:59:33.240
<v Speaker 2>I was writing in my apartment. I was just recording

0:59:33.360 --> 0:59:37.520
<v Speaker 2>songs again, working with Rudy and some of the other guys,

0:59:37.600 --> 0:59:41.040
<v Speaker 2>and and my life really was music, even though I

0:59:41.080 --> 0:59:43.600
<v Speaker 2>was kind of going and trying to get that that

0:59:43.960 --> 0:59:44.920
<v Speaker 2>you know, that plan B.

0:59:52.640 --> 0:59:54.720
<v Speaker 1>Before U c l A. What was the town you

0:59:54.720 --> 0:59:55.160
<v Speaker 1>grew up in?

0:59:55.320 --> 0:59:57.600
<v Speaker 2>Yeah, I grew up in the San Fernando Valley, you know,

0:59:57.880 --> 1:00:00.800
<v Speaker 2>Valley boy, went to Kennedy High scho cool in the valley.

1:00:02.200 --> 1:00:04.840
<v Speaker 2>You know, still live out here, you know, in Thousand Oaks,

1:00:04.880 --> 1:00:07.760
<v Speaker 2>and but yeah, all through that, all through those there

1:00:07.800 --> 1:00:10.640
<v Speaker 2>was a moment there when I was eighteen, because a

1:00:10.640 --> 1:00:13.240
<v Speaker 2>lot of these rock stars, as you know, they trained classically,

1:00:13.320 --> 1:00:16.560
<v Speaker 2>so we would train operatically. You know, we'd be singing Mozart.

1:00:16.600 --> 1:00:19.880
<v Speaker 2>We wouldn't be singing you know, I don't know Queen.

1:00:21.120 --> 1:00:23.080
<v Speaker 2>And there's a there was a moment there that I

1:00:23.160 --> 1:00:26.240
<v Speaker 2>had an opportunity to go pursue opera. But you know,

1:00:26.480 --> 1:00:28.520
<v Speaker 2>I was listening to Peter Frampton, I was listening to

1:00:28.560 --> 1:00:32.440
<v Speaker 2>the Beatles, I was listening to led Zeppelin, and I

1:00:32.520 --> 1:00:34.880
<v Speaker 2>knew I wanted to go kind of the pop world.

1:00:36.320 --> 1:00:40.080
<v Speaker 2>But that's that was kind of my trajectory. And but again,

1:00:40.160 --> 1:00:42.840
<v Speaker 2>you know, I'm I'm a fifteen year overnight success. You know,

1:00:42.960 --> 1:00:45.200
<v Speaker 2>I didn't. I didn't have the dream coming true until

1:00:45.240 --> 1:00:46.160
<v Speaker 2>I was my late twenties.

1:00:46.880 --> 1:00:49.760
<v Speaker 1>Okay, did you play in bands in high school?

1:00:51.160 --> 1:00:53.160
<v Speaker 2>Not really. You know, I would sing at the talent

1:00:53.200 --> 1:00:55.800
<v Speaker 2>shows and I had a couple of little bands. I

1:00:55.880 --> 1:00:58.480
<v Speaker 2>was really more focused on writing hundreds of songs and

1:00:58.560 --> 1:01:01.680
<v Speaker 2>learning how to produce. And when I got out of college,

1:01:01.720 --> 1:01:04.640
<v Speaker 2>I started playing around La you know, the eighty one

1:01:04.720 --> 1:01:07.920
<v Speaker 2>twenty one room below, the Coconut teaser. It would be

1:01:08.000 --> 1:01:11.840
<v Speaker 2>me and you know five people, and I was playing

1:01:11.880 --> 1:01:15.680
<v Speaker 2>a little piano bar on Melrose when I got whatever

1:01:15.840 --> 1:01:18.640
<v Speaker 2>discovered means it was. It was a piano bar and

1:01:18.680 --> 1:01:22.240
<v Speaker 2>I play there every Wednesday and again it would be

1:01:22.320 --> 1:01:24.880
<v Speaker 2>me the person making coffee, and two or three people

1:01:24.960 --> 1:01:27.760
<v Speaker 2>I paid to be there, and one night a woman

1:01:27.840 --> 1:01:30.520
<v Speaker 2>in a black jacket walked in. Turns out she was

1:01:30.560 --> 1:01:33.840
<v Speaker 2>a very successful publisher working at Zomba. At the time,

1:01:34.040 --> 1:01:36.960
<v Speaker 2>she had signed No Doubt, she had signed Incubus, and

1:01:38.240 --> 1:01:41.640
<v Speaker 2>she said, hey, you know I helped get people record deals.

1:01:41.640 --> 1:01:44.760
<v Speaker 2>I'd heard that before, but she was very attractive. So

1:01:44.800 --> 1:01:48.840
<v Speaker 2>we started working together and two or three years later

1:01:48.920 --> 1:01:51.480
<v Speaker 2>she saw the light. We've been married now twenty six years.

1:01:51.560 --> 1:01:55.160
<v Speaker 2>Carla Berkowitz, you know, vice president of MI Publishing. So

1:01:55.760 --> 1:01:58.280
<v Speaker 2>but yeah, I literally was discovered on a piano bar

1:01:58.960 --> 1:02:04.880
<v Speaker 2>in Melrose, and it actually happens. So that's just and

1:02:04.960 --> 1:02:08.920
<v Speaker 2>my songs. Actually she heard me at Motown. I had

1:02:08.920 --> 1:02:12.560
<v Speaker 2>a girlfriend working at Motown who was a secretary for

1:02:12.600 --> 1:02:14.840
<v Speaker 2>a guy named Guy Abraham, who was an A and

1:02:14.960 --> 1:02:18.720
<v Speaker 2>R guy for Motown who also was an Olympic finalist

1:02:18.760 --> 1:02:22.160
<v Speaker 2>in the hundred yard dash. And that's how crazy this

1:02:22.280 --> 1:02:24.520
<v Speaker 2>business is. You know, all these things had to connect.

1:02:24.920 --> 1:02:27.840
<v Speaker 2>But Carla, my wife, you know, she's been my force

1:02:27.880 --> 1:02:30.800
<v Speaker 2>of nature through this. We were very fortunate that when

1:02:30.840 --> 1:02:34.400
<v Speaker 2>we had my son, Johnny, she was able to quit

1:02:34.480 --> 1:02:36.360
<v Speaker 2>her job in the music business to become a full

1:02:36.360 --> 1:02:39.120
<v Speaker 2>time mom. But but boy, yeah, she's been my partner

1:02:39.160 --> 1:02:43.800
<v Speaker 2>in this and and it's been everybody has a wild ride,

1:02:43.800 --> 1:02:45.400
<v Speaker 2>but boy, we've had a good one.

1:02:45.640 --> 1:02:49.920
<v Speaker 1>Okay, you're in college. Are you playing in bands in college?

1:02:51.160 --> 1:02:53.560
<v Speaker 2>Nope? No, because I was really kind of you know,

1:02:54.840 --> 1:02:56.880
<v Speaker 2>doing the math degree took a lot of time, and

1:02:57.040 --> 1:02:59.560
<v Speaker 2>any excess time I had I was kind of recording

1:02:59.560 --> 1:03:05.160
<v Speaker 2>and write. I never really had a band band. I

1:03:05.280 --> 1:03:07.880
<v Speaker 2>had musicians that I would play with, I had producers

1:03:07.920 --> 1:03:10.280
<v Speaker 2>that I would work with, and only when I had

1:03:10.640 --> 1:03:13.040
<v Speaker 2>kind of some success, I had to put a band together.

1:03:13.760 --> 1:03:16.440
<v Speaker 2>So I think it took me a while to learn

1:03:16.520 --> 1:03:19.400
<v Speaker 2>how to perform. I wasn't, you know, a great performer

1:03:19.440 --> 1:03:21.800
<v Speaker 2>early on, because I didn't have any experience. You know,

1:03:22.520 --> 1:03:25.120
<v Speaker 2>the crazy thing is is when you have a hit

1:03:25.160 --> 1:03:29.400
<v Speaker 2>song for the first time and you've never been touring

1:03:29.440 --> 1:03:31.240
<v Speaker 2>for ten years, you know, your first show is like

1:03:31.280 --> 1:03:35.080
<v Speaker 2>the Tonight Show. And that's usually why it doesn't go

1:03:35.200 --> 1:03:38.280
<v Speaker 2>too well. But I've also been blessed, you know, to

1:03:38.760 --> 1:03:42.040
<v Speaker 2>just have incredible musicians play with me throughout my whole career,

1:03:42.160 --> 1:03:45.880
<v Speaker 2>so that's been amazing too. But yeah, I never played

1:03:45.880 --> 1:03:48.360
<v Speaker 2>in many bands. If it was anything, it was me

1:03:48.520 --> 1:03:51.600
<v Speaker 2>kind of at a piano bar doing the piano man thing,

1:03:51.800 --> 1:03:53.280
<v Speaker 2>and I did quite a bit of those.

1:03:53.880 --> 1:03:58.439
<v Speaker 1>Okay, you start writing songs when you're a teenager. You're

1:03:58.480 --> 1:04:02.440
<v Speaker 1>a math major. You're right, so what's the dream?

1:04:02.600 --> 1:04:07.520
<v Speaker 2>Then? The dream was always to be Billy Joel, to

1:04:07.600 --> 1:04:11.080
<v Speaker 2>be Elton John, to make a living at this, to

1:04:11.240 --> 1:04:14.360
<v Speaker 2>have people sing songs back to me, to be able

1:04:14.400 --> 1:04:17.920
<v Speaker 2>to live my childhood passion. And Billy Joel was my

1:04:17.960 --> 1:04:22.200
<v Speaker 2>first concert fifteen years old, fabulous Forum, Glasshouses tour.

1:04:22.600 --> 1:04:26.720
<v Speaker 1>I was there, Yes, I could even tell you where

1:04:26.760 --> 1:04:28.000
<v Speaker 1>I was sitting, but keep going.

1:04:28.680 --> 1:04:32.120
<v Speaker 2>Well, a funny story about that. When I played the

1:04:32.120 --> 1:04:35.320
<v Speaker 2>concert for New York, you know, before Paul McCartney did

1:04:35.440 --> 1:04:38.440
<v Speaker 2>let it beyond core of the encore, I wasn't going

1:04:38.520 --> 1:04:40.320
<v Speaker 2>to go out there because I'm like, I don't belong

1:04:40.440 --> 1:04:43.920
<v Speaker 2>and bon Jovi and Melissa Etheridge literally grabbed me by

1:04:43.960 --> 1:04:47.680
<v Speaker 2>the shirt and pulled me backstage and backstage was every

1:04:47.720 --> 1:04:50.840
<v Speaker 2>living icon in the world, and I knew I couldn't

1:04:50.880 --> 1:04:53.440
<v Speaker 2>go up to everybody because I'd be a total geek fanboy.

1:04:53.480 --> 1:04:56.920
<v Speaker 2>But I went up to Eric Clapton, said mister Clapton,

1:04:56.960 --> 1:04:59.680
<v Speaker 2>thank you. I went up to Pete Townsend and I said,

1:05:00.120 --> 1:05:02.600
<v Speaker 2>mister Townsend, Tommy's been in my CD player for twenty years.

1:05:02.600 --> 1:05:04.840
<v Speaker 2>He's like, row, thanks Rot. And then I went up

1:05:04.880 --> 1:05:08.400
<v Speaker 2>to Billy Joel because he really was my guy, and

1:05:08.440 --> 1:05:11.440
<v Speaker 2>I said, you know, mister Joel, thank you. You know

1:05:11.560 --> 1:05:15.560
<v Speaker 2>I saw you Faba's Forum Glasshouses tour. It changed my life.

1:05:15.640 --> 1:05:18.600
<v Speaker 2>And he's like, hey, I remember that Liberty de Vito

1:05:18.640 --> 1:05:24.200
<v Speaker 2>missed the phil that night. Goddamn it. I was like, wow,

1:05:24.880 --> 1:05:28.000
<v Speaker 2>that was my Hey. But I also did a CD

1:05:28.120 --> 1:05:31.160
<v Speaker 2>for the Troops project, and Billy Joel for free gave

1:05:31.200 --> 1:05:35.040
<v Speaker 2>me my favorite Billy Joel song, scenes from Italian restaurant

1:05:35.160 --> 1:05:38.360
<v Speaker 2>for my project, so I always will be grateful to him.

1:05:38.640 --> 1:05:40.840
<v Speaker 2>I love his new song that he put out this year.

1:05:40.840 --> 1:05:42.200
<v Speaker 2>I hope he puts out more songs.

1:05:43.280 --> 1:05:48.320
<v Speaker 1>Okay, just to drive this home, you're writing and you're

1:05:48.360 --> 1:05:51.560
<v Speaker 1>learning how to make records while you're in college. Are

1:05:51.600 --> 1:05:53.240
<v Speaker 1>you playing piano? Bars.

1:05:53.280 --> 1:05:56.880
<v Speaker 2>When you're in college, not so much note just writing

1:05:56.960 --> 1:06:00.680
<v Speaker 2>songs and you know, sending them out to publish and

1:06:01.280 --> 1:06:04.439
<v Speaker 2>a and our people and kind of getting the yeah,

1:06:04.480 --> 1:06:06.920
<v Speaker 2>it's a pretty good singer, but not a great songwriter,

1:06:07.120 --> 1:06:10.760
<v Speaker 2>or yeah, he's a good songwriter, not a great singer.

1:06:11.560 --> 1:06:15.560
<v Speaker 2>And then when I did graduate, I really kind of

1:06:15.600 --> 1:06:21.920
<v Speaker 2>full time started making demos and writing songs and working

1:06:21.960 --> 1:06:25.920
<v Speaker 2>with various producers, and when I started working with Carla,

1:06:26.000 --> 1:06:29.880
<v Speaker 2>who became my wife, you know, meeting with with record

1:06:29.920 --> 1:06:36.000
<v Speaker 2>executives and and doing a few showcases, and everybody eventually

1:06:36.040 --> 1:06:41.360
<v Speaker 2>had passed on me except for one person, Brian Koppleman.

1:06:42.200 --> 1:06:44.120
<v Speaker 2>Brian Koppleman, I'm sure you know Brian.

1:06:44.720 --> 1:06:45.360
<v Speaker 1>Uh.

1:06:45.400 --> 1:06:48.320
<v Speaker 2>You know. Brian at the time was working at Emi Records,

1:06:48.760 --> 1:06:51.760
<v Speaker 2>and he had signed Tracy Chapman, and he had a

1:06:51.760 --> 1:06:54.680
<v Speaker 2>guy named Joshua Cattison, and he heard a song of

1:06:54.720 --> 1:06:59.120
<v Speaker 2>mine called love Song, which was about divorce from the

1:06:59.120 --> 1:07:02.720
<v Speaker 2>perspective of a child. And to Brian's credit, it was

1:07:02.760 --> 1:07:04.360
<v Speaker 2>a song that would never be on the radio. It's

1:07:04.360 --> 1:07:07.680
<v Speaker 2>not a hit song, but I think it's it's a song.

1:07:07.880 --> 1:07:10.720
<v Speaker 2>It's a song that I think maybe shows some potential

1:07:10.760 --> 1:07:14.520
<v Speaker 2>and Brian loved that song, and at the time, the

1:07:14.520 --> 1:07:17.040
<v Speaker 2>president of EMI Records, as I'm sure you know, was

1:07:17.120 --> 1:07:24.200
<v Speaker 2>David Segerson, who produced Tory Jamis's Little Earthquakes. So Brian

1:07:24.320 --> 1:07:25.640
<v Speaker 2>liked the song. He said, I have to fly to

1:07:25.680 --> 1:07:28.760
<v Speaker 2>New York. You have to play for David, and I

1:07:28.800 --> 1:07:31.000
<v Speaker 2>can't promise you anything, but I did. I went to

1:07:31.240 --> 1:07:34.480
<v Speaker 2>New York. I played for David. They're like, all right,

1:07:34.480 --> 1:07:36.000
<v Speaker 2>you want to make a record, And of course, you know,

1:07:36.240 --> 1:07:38.480
<v Speaker 2>all the bells went out, all the balloons popped, and

1:07:38.960 --> 1:07:41.920
<v Speaker 2>the most exciting moment of my life. And a year

1:07:42.000 --> 1:07:45.320
<v Speaker 2>or two later after them putting me through the songwriter ringer,

1:07:46.000 --> 1:07:49.720
<v Speaker 2>David actually produced my record and I'm like, oh my god,

1:07:49.840 --> 1:07:52.280
<v Speaker 2>It's like, could it be any better? The president of

1:07:52.320 --> 1:07:55.520
<v Speaker 2>the label is this producer of great piano music. He's

1:07:55.600 --> 1:07:58.880
<v Speaker 2>running the label and this is going to be amazing.

1:07:58.920 --> 1:08:01.840
<v Speaker 2>All my dreams are going to come true. And then

1:08:02.200 --> 1:08:05.480
<v Speaker 2>the week my first single comes out, E my Records

1:08:05.640 --> 1:08:11.640
<v Speaker 2>closes and and Virgin and Capital had opportunity to pick

1:08:11.720 --> 1:08:14.200
<v Speaker 2>up E and my bands, they both uh, they both

1:08:14.240 --> 1:08:17.640
<v Speaker 2>passed on me. So I was back to uh, like

1:08:17.720 --> 1:08:21.160
<v Speaker 2>so many artists, back to square one. But I kept

1:08:21.160 --> 1:08:25.240
<v Speaker 2>writing and and and my wife kept sending out my demos,

1:08:25.240 --> 1:08:27.280
<v Speaker 2>and there was a guy let's go back.

1:08:27.479 --> 1:08:29.519
<v Speaker 1>Yeah, after you graduate from college.

1:08:29.680 --> 1:08:34.200
<v Speaker 2>Yeah, do you have a day job Precision Wire? Precision Wire?

1:08:34.840 --> 1:08:38.080
<v Speaker 2>Putting on a suit, going to Precision Wire. And the

1:08:38.160 --> 1:08:42.240
<v Speaker 2>blessing was my dad got a guy really cheap uh

1:08:42.400 --> 1:08:44.519
<v Speaker 2>to do a lot of work there to set up

1:08:44.520 --> 1:08:47.040
<v Speaker 2>the financing for the new building. And I got the

1:08:47.080 --> 1:08:50.040
<v Speaker 2>ability to go on any audition or to a studio.

1:08:50.200 --> 1:08:52.880
<v Speaker 2>I actually built a studio. They're still there a Precision Wire.

1:08:53.080 --> 1:08:54.800
<v Speaker 2>When you come, you know, if you ever want a tour,

1:08:55.080 --> 1:08:56.840
<v Speaker 2>I'll show you how to make a shopping cart and

1:08:56.840 --> 1:09:00.120
<v Speaker 2>and you can see my old studio. So so yeah,

1:09:00.160 --> 1:09:04.320
<v Speaker 2>Precision Wire and my parents really gave me the freedom

1:09:04.360 --> 1:09:08.080
<v Speaker 2>and ability to pursue music like so many people can't

1:09:08.120 --> 1:09:10.040
<v Speaker 2>because they have to get a job, they have to

1:09:10.040 --> 1:09:11.800
<v Speaker 2>pay their rent. So I was able to pay my

1:09:11.880 --> 1:09:16.680
<v Speaker 2>rent and pursue my dream for years until I was

1:09:16.720 --> 1:09:20.360
<v Speaker 2>in my mid to late twenties, still sending out demos,

1:09:20.400 --> 1:09:26.080
<v Speaker 2>still grinding, you know, after EMI closed, still reaching out

1:09:26.080 --> 1:09:26.599
<v Speaker 2>to other las.

1:09:26.640 --> 1:09:29.519
<v Speaker 1>Okay, well, before before we get to ABI, when your

1:09:29.720 --> 1:09:33.800
<v Speaker 1>wife sees you at Melrose and vine. How many years

1:09:33.880 --> 1:09:37.240
<v Speaker 1>have you been doing it? How many years after college?

1:09:37.520 --> 1:09:39.080
<v Speaker 2>That was probably a couple of years, So I was

1:09:39.120 --> 1:09:42.479
<v Speaker 2>probably twenty four, twenty five years old.

1:09:42.840 --> 1:09:48.120
<v Speaker 1>Okay, with Rudy Sarzo and John Scott. When does that start?

1:09:48.240 --> 1:09:49.240
<v Speaker 1>When does that end?

1:09:49.760 --> 1:09:53.519
<v Speaker 2>Yeah? That ended pretty pretty pretty quickly, as I said,

1:09:53.760 --> 1:09:57.320
<v Speaker 2>kind of when Nirvana came out and all the hairbands.

1:09:57.400 --> 1:10:01.160
<v Speaker 2>Kind of that era ended that. We had a management,

1:10:01.280 --> 1:10:04.760
<v Speaker 2>a manager who was actually managing bad company, and we

1:10:04.840 --> 1:10:09.160
<v Speaker 2>had a couple record folks interested. But when that came out,

1:10:09.439 --> 1:10:11.679
<v Speaker 2>when Nirvana came out, the whole thing collapsed. It went away.

1:10:11.720 --> 1:10:14.000
<v Speaker 2>And again it was a blessing in disguise because I

1:10:14.040 --> 1:10:16.599
<v Speaker 2>went back to the piano. You know, we were writing

1:10:16.680 --> 1:10:19.639
<v Speaker 2>kind of nice pop rock songs. I think they were good.

1:10:20.000 --> 1:10:22.679
<v Speaker 2>I don't think there are anything special, but it put

1:10:22.720 --> 1:10:25.960
<v Speaker 2>me back at the piano and I really started kind

1:10:25.960 --> 1:10:28.759
<v Speaker 2>of writing what I would be, you know, the style

1:10:28.800 --> 1:10:29.559
<v Speaker 2>that I would become.

1:10:30.040 --> 1:10:32.920
<v Speaker 1>Okay, so how old are you when you start with

1:10:33.040 --> 1:10:39.400
<v Speaker 1>Rudy Sarzo till we hit nineteen ninety one when Nirvana hits.

1:10:39.400 --> 1:10:42.200
<v Speaker 2>Yeah, so well, m yes, so yeah, I am like

1:10:42.760 --> 1:10:44.800
<v Speaker 2>I'm like twenty four years old.

1:10:45.280 --> 1:10:48.440
<v Speaker 1>Yeah, and Are you doing this because of the opportunity

1:10:49.080 --> 1:10:50.400
<v Speaker 1>or did you like that sound?

1:10:51.720 --> 1:10:54.680
<v Speaker 2>Yeah? I did like it, you know, I you know,

1:10:54.880 --> 1:10:59.160
<v Speaker 2>I enjoyed the kind of the pop rock band. I

1:10:59.200 --> 1:11:04.400
<v Speaker 2>love Journey, you know, I love Steve Perry, you know,

1:11:05.160 --> 1:11:08.200
<v Speaker 2>I love Queen. They were all my favorite singers and

1:11:08.200 --> 1:11:11.400
<v Speaker 2>and idols and and I love Pat bennettar you know,

1:11:11.520 --> 1:11:14.519
<v Speaker 2>so these kind of pop rock songs. I really enjoyed

1:11:15.400 --> 1:11:19.720
<v Speaker 2>doing that. It really wasn't I think my you know,

1:11:19.840 --> 1:11:22.960
<v Speaker 2>my high fastball, uh, because I think, really the piano

1:11:23.160 --> 1:11:25.320
<v Speaker 2>the piano songs are But it was a great experience.

1:11:25.360 --> 1:11:26.840
<v Speaker 2>I learned a lot from these guys. I learned a

1:11:26.840 --> 1:11:32.640
<v Speaker 2>lot about production, I learned a lot about musicianship. But

1:11:32.640 --> 1:11:35.479
<v Speaker 2>but yeah, I think Nirvana probably did me a favor.

1:11:36.360 --> 1:11:41.080
<v Speaker 1>So you're on of college a few years. What keeps

1:11:41.080 --> 1:11:42.760
<v Speaker 1>you going? Why don't you give up?

1:11:46.120 --> 1:11:49.519
<v Speaker 2>I think a lot of keys to success have nothing

1:11:49.560 --> 1:11:53.680
<v Speaker 2>to do with talent. It's really about will. And I

1:11:53.800 --> 1:11:56.600
<v Speaker 2>was going off the cliff. I was right, and and

1:11:56.680 --> 1:12:00.120
<v Speaker 2>to be honest with you, I kind of did. I

1:12:00.120 --> 1:12:03.880
<v Speaker 2>I kind of did. When E and I closed, you know,

1:12:04.080 --> 1:12:06.719
<v Speaker 2>I was again, I was in my kind of mid

1:12:06.920 --> 1:12:10.200
<v Speaker 2>mid to you know, twenty six, twenty seven, and I'm like, Okay,

1:12:10.240 --> 1:12:13.280
<v Speaker 2>it's probably not going to work at some point, I

1:12:13.360 --> 1:12:18.839
<v Speaker 2>gotta think about long term and a family. But my wife,

1:12:19.640 --> 1:12:23.280
<v Speaker 2>my potential, you know, my future wife, Carla, unbeknownst to me,

1:12:23.360 --> 1:12:26.759
<v Speaker 2>was still standing out demos of old songs and basically

1:12:26.840 --> 1:12:28.880
<v Speaker 2>lying saying, oh, John just wrote this new song, check

1:12:28.920 --> 1:12:31.599
<v Speaker 2>it out. And she sent it to a guy named

1:12:31.920 --> 1:12:35.200
<v Speaker 2>Andy Martin who had a record company called Deep South Records,

1:12:35.840 --> 1:12:39.040
<v Speaker 2>and he liked that. He liked my songs. And a

1:12:39.080 --> 1:12:42.599
<v Speaker 2>competitor of his was a guy named Greg Latterman. Greg

1:12:42.640 --> 1:12:46.120
<v Speaker 2>Latterman with Aware Records, and I think Aware they thought

1:12:46.200 --> 1:12:50.160
<v Speaker 2>I was interesting. A guy named Steve Smith, who worked there,

1:12:50.200 --> 1:12:53.559
<v Speaker 2>I think, was a big fan, and so Greg and

1:12:53.600 --> 1:12:55.720
<v Speaker 2>Steve I think when they heard that Andy Martin might

1:12:55.760 --> 1:12:59.400
<v Speaker 2>do this, they said, all right, we'll make a record

1:12:59.400 --> 1:13:01.280
<v Speaker 2>with you. And and for me, I was just like,

1:13:01.479 --> 1:13:04.160
<v Speaker 2>let me just record these demos so I can have

1:13:04.200 --> 1:13:08.439
<v Speaker 2>an album and I can play for my grandkids. One day,

1:13:08.479 --> 1:13:10.599
<v Speaker 2>we had fifty thousand dollars. We had to go into

1:13:10.600 --> 1:13:13.280
<v Speaker 2>a studio at midnight because we couldn't afford the day rate.

1:13:14.080 --> 1:13:20.000
<v Speaker 2>And Evan Lamberg at Emi Publishing connected me with a

1:13:20.400 --> 1:13:23.680
<v Speaker 2>guitar player, songwriter, up and coming producer named Greg Wattenberg.

1:13:24.520 --> 1:13:27.040
<v Speaker 2>And Greg and I kind of went into the studio

1:13:27.080 --> 1:13:30.960
<v Speaker 2>at midnight, and we had this beautiful experience of just

1:13:31.080 --> 1:13:33.200
<v Speaker 2>making a record that nobody knew who we were and

1:13:33.720 --> 1:13:36.839
<v Speaker 2>nobody was looking over our shoulders. And on that record

1:13:37.560 --> 1:13:39.599
<v Speaker 2>we had a song called easy Tonight and a song

1:13:39.760 --> 1:13:44.479
<v Speaker 2>called Superman, and Easy Tonight had enough success where it

1:13:44.520 --> 1:13:48.919
<v Speaker 2>got us to Superman, and then Superman became Superman.

1:13:50.280 --> 1:13:55.160
<v Speaker 1>Okay, you're with aware, it's got to deal with the CBS. Sony.

1:13:56.320 --> 1:14:00.680
<v Speaker 1>They ultimately had success with train John Mayer. What's the

1:14:00.720 --> 1:14:04.839
<v Speaker 1>timeline here? Latterman says, yes, how long to make the record?

1:14:04.840 --> 1:14:08.520
<v Speaker 1>How long until it comes out? How long till Superman reacts?

1:14:09.240 --> 1:14:14.120
<v Speaker 2>Yeah, So we took about a year to make the record,

1:14:14.920 --> 1:14:21.320
<v Speaker 2>and nineteen ninety eight, nineteen ninety nine, and we took

1:14:21.360 --> 1:14:25.040
<v Speaker 2>Easy Tonight to Triple A Radio and it became a

1:14:25.160 --> 1:14:27.600
<v Speaker 2>number one song at Triple A. But of course we

1:14:27.640 --> 1:14:30.640
<v Speaker 2>sold no records. But what it did was get us

1:14:30.640 --> 1:14:35.599
<v Speaker 2>on Donnie Einer's radar, Charlie Walks radar, and so they

1:14:35.640 --> 1:14:40.080
<v Speaker 2>came and said, all right, you know you can't sell records,

1:14:40.080 --> 1:14:43.360
<v Speaker 2>but we'll give you another song. And I had seen

1:14:43.680 --> 1:14:46.840
<v Speaker 2>kind of in my shows, whatever performances I was doing

1:14:46.880 --> 1:14:50.479
<v Speaker 2>that Superman was reacting. People were moved by that song.

1:14:50.520 --> 1:14:55.040
<v Speaker 2>And I suggested Superman and they were very resistant because again,

1:14:55.360 --> 1:14:57.719
<v Speaker 2>as you know, the piano was not on the radio

1:14:57.840 --> 1:15:02.920
<v Speaker 2>in two thousand, No Billy Joel songs. The piano didn't exist.

1:15:03.880 --> 1:15:05.599
<v Speaker 2>But they kind of said, all right, you know whatever,

1:15:05.800 --> 1:15:08.960
<v Speaker 2>if this is your swan song, so be it. So

1:15:09.000 --> 1:15:11.000
<v Speaker 2>we went out with Superman and of course Greg worked

1:15:11.120 --> 1:15:15.160
<v Speaker 2>very very hard, you know, you know, promoting and and

1:15:15.160 --> 1:15:20.960
<v Speaker 2>and it's initially it was really struggling because it was different.

1:15:21.479 --> 1:15:23.559
<v Speaker 2>And we got a call one day which was very strange,

1:15:23.720 --> 1:15:26.000
<v Speaker 2>and they said, you know, Superman's number one in the

1:15:26.000 --> 1:15:30.719
<v Speaker 2>Philippines and we're like what. I'm like, how did that happen?

1:15:31.200 --> 1:15:35.559
<v Speaker 2>Superman's No. One of the Philippines and uh. But we

1:15:35.640 --> 1:15:39.160
<v Speaker 2>kept grinding, We kept grinding. The song kind of teetered

1:15:39.160 --> 1:15:42.200
<v Speaker 2>and teetered, and of course, you know, I did every

1:15:42.280 --> 1:15:45.479
<v Speaker 2>you know, every conference room for every radio station, I

1:15:45.560 --> 1:15:47.360
<v Speaker 2>kissed every ring, I went to every you know, all

1:15:47.400 --> 1:15:50.880
<v Speaker 2>around the country. And there was a couple promoted you know,

1:15:50.920 --> 1:15:53.280
<v Speaker 2>back in the day, you know, programmers had a little

1:15:53.280 --> 1:15:56.719
<v Speaker 2>more autonomy. And there was this one programmer, Cheris Furje.

1:15:57.320 --> 1:15:59.640
<v Speaker 2>She was in Vegas, ran the big Vegas hot a

1:15:59.720 --> 1:16:03.200
<v Speaker 2>C station, and she really believed in my song. And

1:16:03.520 --> 1:16:05.960
<v Speaker 2>you know, you know, we get to eight hundred spins,

1:16:05.960 --> 1:16:08.960
<v Speaker 2>it's not testing. Thousand spins, it's not testing. And I

1:16:08.960 --> 1:16:11.040
<v Speaker 2>would call Cheressa every week and say, hey, thank you

1:16:11.080 --> 1:16:12.680
<v Speaker 2>for giving it a shot. She says, I'm giving it

1:16:12.720 --> 1:16:15.679
<v Speaker 2>one more week. And then week one week she called

1:16:15.680 --> 1:16:17.840
<v Speaker 2>and she said you're top five. And the next week

1:16:17.880 --> 1:16:20.479
<v Speaker 2>she said you're number one. And she had a big

1:16:20.520 --> 1:16:23.760
<v Speaker 2>mouth and she started talking to all her friends, and

1:16:23.800 --> 1:16:26.559
<v Speaker 2>then the song started testing and it was on its

1:16:26.560 --> 1:16:29.720
<v Speaker 2>way to you know, becoming a very popular song. I

1:16:29.760 --> 1:16:32.559
<v Speaker 2>was in and then they sent me to England because

1:16:32.560 --> 1:16:36.720
<v Speaker 2>they were going to launch Superman in Europe. And I

1:16:36.760 --> 1:16:39.559
<v Speaker 2>was in England, uh when nine to eleven happened.

1:16:40.520 --> 1:16:45.080
<v Speaker 1>So what was that like? I mean, being in California

1:16:45.160 --> 1:16:47.120
<v Speaker 1>was bad enough if you were if you were from

1:16:47.160 --> 1:16:50.280
<v Speaker 1>New York. Being in England, I mean you couldn't fly back.

1:16:51.439 --> 1:16:53.880
<v Speaker 2>It was horrible. I mean, like everybody else, you know,

1:16:53.960 --> 1:16:56.040
<v Speaker 2>I was calling everybody. I knew in New York City

1:16:56.160 --> 1:16:59.240
<v Speaker 2>and getting a busy signal, and and as you said,

1:16:59.280 --> 1:17:01.280
<v Speaker 2>you know, we were stuck there for ten days. It

1:17:01.320 --> 1:17:05.280
<v Speaker 2>was actually me and a couple other artists, you know,

1:17:05.360 --> 1:17:07.200
<v Speaker 2>we were supposed to perform that night, and I'm like,

1:17:07.240 --> 1:17:09.479
<v Speaker 2>there's no way in hell I'm going to play tonight.

1:17:10.200 --> 1:17:12.000
<v Speaker 2>And we were you know, I sat in my hotel

1:17:12.080 --> 1:17:15.360
<v Speaker 2>room for ten days trying to get back to America.

1:17:15.680 --> 1:17:18.519
<v Speaker 2>And when I landed at o'haa, I literally kissed the

1:17:18.560 --> 1:17:21.559
<v Speaker 2>tarmac because I was so you know, grateful to be home.

1:17:21.600 --> 1:17:25.960
<v Speaker 2>And I didn't realize that Superman had become a song

1:17:26.000 --> 1:17:30.479
<v Speaker 2>that many news organizations were using, you know, CNN to

1:17:31.320 --> 1:17:34.559
<v Speaker 2>as I said, recognize the heroes of nine to eleven.

1:17:34.680 --> 1:17:39.519
<v Speaker 2>And I didn't really understand what it had become. And then,

1:17:39.760 --> 1:17:43.960
<v Speaker 2>you know, a few weeks later, I'm sure somebody, you know,

1:17:44.400 --> 1:17:46.960
<v Speaker 2>somebody I love, Rick Krim, called me. Rick Krim, who

1:17:47.080 --> 1:17:49.519
<v Speaker 2>you know, runs was running VH one at the time,

1:17:50.439 --> 1:17:52.760
<v Speaker 2>and he said, hey, man, you know your song's become

1:17:52.840 --> 1:17:55.960
<v Speaker 2>this song and where Paul McCartney's doing this concert and

1:17:56.040 --> 1:18:00.400
<v Speaker 2>would you want to play? And I didn't even know

1:18:00.439 --> 1:18:04.919
<v Speaker 2>what to say to that, And of course, I said, yeah,

1:18:04.960 --> 1:18:08.000
<v Speaker 2>and but yeah because of Rick. You know, I played

1:18:08.040 --> 1:18:11.080
<v Speaker 2>Superman at the concert for New York and I'll always

1:18:11.120 --> 1:18:12.160
<v Speaker 2>be grateful to him for that.

1:18:13.320 --> 1:18:15.719
<v Speaker 1>So at this point when you're working, are you working

1:18:15.760 --> 1:18:17.040
<v Speaker 1>solo or with a band.

1:18:18.200 --> 1:18:20.960
<v Speaker 2>Yeah, at this point, you know, we have we have

1:18:21.000 --> 1:18:23.080
<v Speaker 2>a band. As soon as you know Superman took off.

1:18:23.120 --> 1:18:25.520
<v Speaker 2>You know, you have a lot of radio show obligations,

1:18:25.560 --> 1:18:27.400
<v Speaker 2>you know, trying to build your touring, so I put

1:18:27.439 --> 1:18:30.200
<v Speaker 2>together a rock band. You know, for three or four years,

1:18:30.240 --> 1:18:32.800
<v Speaker 2>we were in the van, you know, carrying our gear,

1:18:33.280 --> 1:18:36.479
<v Speaker 2>setting up our gear, selling our own merch, you know,

1:18:36.720 --> 1:18:39.599
<v Speaker 2>kind of paying our dues, you know, through Easy Tonight

1:18:39.640 --> 1:18:43.240
<v Speaker 2>and all that. And then you know, when Superman broke,

1:18:44.680 --> 1:18:48.240
<v Speaker 2>I had the moment every every aspiring musician dreams of.

1:18:48.760 --> 1:18:51.200
<v Speaker 2>I had the moment where we went from the van

1:18:51.479 --> 1:18:55.479
<v Speaker 2>to the bus. I was actually doing Larry King. I

1:18:55.520 --> 1:18:58.200
<v Speaker 2>walked out of the van. I did Larry King in

1:18:58.200 --> 1:19:00.240
<v Speaker 2>New York City, and I walked out of Larry King

1:19:00.439 --> 1:19:05.000
<v Speaker 2>onto our first tour bus. And from then on things

1:19:05.000 --> 1:19:05.960
<v Speaker 2>were a little bit easier.

1:19:13.439 --> 1:19:17.360
<v Speaker 1>Okay, you have this success, now you have to make

1:19:17.400 --> 1:19:19.880
<v Speaker 1>another record. Did you feel the pressure.

1:19:21.280 --> 1:19:25.320
<v Speaker 2>Yes, sir, it was quite the debacle. I mean, not

1:19:25.360 --> 1:19:28.479
<v Speaker 2>only do you have to follow your first kind of

1:19:28.520 --> 1:19:32.200
<v Speaker 2>popular song, it's a song that has taken on the significance,

1:19:32.200 --> 1:19:35.160
<v Speaker 2>So you know, how do you do that? And I

1:19:35.200 --> 1:19:36.559
<v Speaker 2>got to be honest with you, it was a struggle.

1:19:37.439 --> 1:19:41.439
<v Speaker 2>Because I'd had some success, I was able to actually

1:19:41.439 --> 1:19:45.400
<v Speaker 2>have a budget, and I was able to record much

1:19:45.439 --> 1:19:47.960
<v Speaker 2>of the next record, The Battle for Everything, with Bill Batrell.

1:19:48.920 --> 1:19:51.559
<v Speaker 2>I love Bill Batrell. I loved what he did with

1:19:51.600 --> 1:19:55.200
<v Speaker 2>Sheryl Crow. He had a studio out in Montecito on

1:19:55.240 --> 1:19:58.200
<v Speaker 2>the beach. It was like a dream come true. You

1:19:58.240 --> 1:20:03.080
<v Speaker 2>show up every day, record, you write, people bring you wine.

1:20:03.600 --> 1:20:07.160
<v Speaker 2>You know, his girlfriend makes turkey pot pie. And and

1:20:07.360 --> 1:20:11.760
<v Speaker 2>I did that for like nine months, and the record

1:20:11.840 --> 1:20:15.919
<v Speaker 2>company came up to said listen, and they were not pleased.

1:20:16.640 --> 1:20:20.800
<v Speaker 2>They did not hear the next song. There was a

1:20:20.800 --> 1:20:23.240
<v Speaker 2>lot of panic, a lot of anger, a lot of

1:20:23.320 --> 1:20:29.400
<v Speaker 2>back and forth. And so that was that was, you know,

1:20:29.800 --> 1:20:32.760
<v Speaker 2>not fun. It was, And but I also realized that

1:20:32.840 --> 1:20:35.760
<v Speaker 2>I didn't have the song that could follow Superman, a

1:20:35.800 --> 1:20:38.920
<v Speaker 2>song that was not Superman two, a song that could

1:20:38.960 --> 1:20:43.080
<v Speaker 2>stand on its own. But I'd still to this day

1:20:43.120 --> 1:20:45.720
<v Speaker 2>think the Battle for everything's probably my best record. So

1:20:45.800 --> 1:20:47.679
<v Speaker 2>I kind of went we had that. I went back

1:20:47.720 --> 1:20:51.599
<v Speaker 2>home and for about a year, I just wrote, wrote, wrote, wrote,

1:20:51.680 --> 1:20:55.840
<v Speaker 2>you know, song after song, and I'll never forget. One day,

1:20:57.479 --> 1:20:59.719
<v Speaker 2>I had this little kind of upright in this little

1:20:59.800 --> 1:21:02.240
<v Speaker 2>room in my house, and I would just kind of

1:21:02.280 --> 1:21:04.400
<v Speaker 2>get up at six of the morning, nine pound pound pound,

1:21:04.479 --> 1:21:06.800
<v Speaker 2>and the monkey on my back was growing and the

1:21:06.800 --> 1:21:10.280
<v Speaker 2>pressure was growing, and I had this idea for a song,

1:21:11.040 --> 1:21:13.120
<v Speaker 2>and my wife, you know, kind of came in. I said,

1:21:13.200 --> 1:21:16.000
<v Speaker 2>let me play you something, and so I started playing

1:21:16.080 --> 1:21:19.360
<v Speaker 2>her kind of a sketch of hundred years and I'll

1:21:19.360 --> 1:21:21.400
<v Speaker 2>never forget. I kind of after I played it, I

1:21:21.479 --> 1:21:23.880
<v Speaker 2>turned to see her in the doorway and tears were

1:21:23.920 --> 1:21:26.960
<v Speaker 2>running down her face. And I remember thinking, well, either

1:21:27.479 --> 1:21:29.479
<v Speaker 2>I wrote a hit or my career is over. I

1:21:29.520 --> 1:21:32.960
<v Speaker 2>don't know which one. But but fortunately that that song,

1:21:33.200 --> 1:21:35.880
<v Speaker 2>you know, kind of took out the one hit.

1:21:35.920 --> 1:21:41.839
<v Speaker 1>Wonder Okay, that runs its course. What about the next record?

1:21:43.120 --> 1:21:45.200
<v Speaker 2>Yeah, well, you know, the next you know, after those

1:21:45.240 --> 1:21:49.400
<v Speaker 2>two songs, I really never had that level of success.

1:21:50.000 --> 1:21:53.360
<v Speaker 2>I you know, I had songs that you know, there

1:21:53.360 --> 1:21:55.160
<v Speaker 2>were top ten hot AC songs. I had a song

1:21:55.200 --> 1:21:59.400
<v Speaker 2>called the Riddle, which which did well. It's you know,

1:21:59.479 --> 1:22:01.800
<v Speaker 2>I think Columbia thought that it would be you know,

1:22:01.840 --> 1:22:06.040
<v Speaker 2>another Superman hundred years. It wasn't. And but you know,

1:22:07.240 --> 1:22:11.000
<v Speaker 2>we sold enough records to keep making another one, and

1:22:11.000 --> 1:22:13.960
<v Speaker 2>and kind of every subsequent record, I had a song

1:22:14.080 --> 1:22:17.680
<v Speaker 2>that again was a top ten hot acy. So I

1:22:17.680 --> 1:22:20.000
<v Speaker 2>had a song called Chances, which was the entitle of

1:22:20.040 --> 1:22:22.519
<v Speaker 2>the blind Side. And I wasn't a guy who sold

1:22:22.560 --> 1:22:24.080
<v Speaker 2>a ton of records for the label, but I was

1:22:24.080 --> 1:22:26.959
<v Speaker 2>a big licensing guy, so you know, they could license

1:22:27.200 --> 1:22:30.559
<v Speaker 2>the songs. That was back in the day when you know,

1:22:31.320 --> 1:22:34.880
<v Speaker 2>people were spending crazy money to license songs. So that

1:22:34.960 --> 1:22:37.760
<v Speaker 2>kind of kept me afloat at Columbia. And I was,

1:22:37.800 --> 1:22:39.519
<v Speaker 2>you know, I was fortunate to make you know, three

1:22:39.560 --> 1:22:41.800
<v Speaker 2>more records there. None of them kind of had the

1:22:41.840 --> 1:22:44.760
<v Speaker 2>success of Superman one hundred years, but but they were

1:22:44.840 --> 1:22:47.080
<v Speaker 2>enough to you know, to pay the bills for them

1:22:47.120 --> 1:22:50.960
<v Speaker 2>and make it worthwhile. And then and I was able

1:22:51.000 --> 1:22:53.760
<v Speaker 2>to tour and kind of live the dream and and

1:22:54.000 --> 1:22:58.880
<v Speaker 2>write for films and and do side projects and and

1:23:00.120 --> 1:23:02.639
<v Speaker 2>you know, and play hockey games and that stuff. And

1:23:02.800 --> 1:23:05.200
<v Speaker 2>then after five records, you know, they kind of said,

1:23:05.320 --> 1:23:08.800
<v Speaker 2>you know we're done and I understand that, and and

1:23:08.960 --> 1:23:10.360
<v Speaker 2>I went to wind up Records.

1:23:10.400 --> 1:23:14.439
<v Speaker 1>Who whoao? In the hindsight, that's easy to say, yeah,

1:23:14.439 --> 1:23:16.639
<v Speaker 1>but when you're told you how did you find out

1:23:16.680 --> 1:23:19.599
<v Speaker 1>you were dropped? Literally? And then how did it feel

1:23:19.600 --> 1:23:19.840
<v Speaker 1>at the.

1:23:19.920 --> 1:23:24.080
<v Speaker 2>Time, you know, it was it was like any you know,

1:23:24.360 --> 1:23:28.320
<v Speaker 2>it was terrible. It was terrible. You know, Greg told

1:23:28.320 --> 1:23:30.160
<v Speaker 2>me that they're not going to pick me up and

1:23:30.200 --> 1:23:34.160
<v Speaker 2>do another record. I actually, you know, threw a tantrum

1:23:34.200 --> 1:23:36.280
<v Speaker 2>and I said screw you, and I bought the record back.

1:23:36.960 --> 1:23:39.920
<v Speaker 2>I bought the Slice record back, which you know, was

1:23:39.960 --> 1:23:42.880
<v Speaker 2>pretty stupid of me, but it was emotional and I'm like,

1:23:42.960 --> 1:23:46.360
<v Speaker 2>I'm going to go take this and screw you. But

1:23:46.400 --> 1:23:51.439
<v Speaker 2>I you know, I remember there was there was there

1:23:51.520 --> 1:23:54.040
<v Speaker 2>was a moment I was kind of driving by myself

1:23:54.080 --> 1:23:57.479
<v Speaker 2>through from in middle of Texas to a radio station,

1:23:58.080 --> 1:24:00.720
<v Speaker 2>you know, probably Market two hundred and three to try

1:24:00.760 --> 1:24:03.920
<v Speaker 2>to get five spins for a song, and one hundred

1:24:04.000 --> 1:24:05.960
<v Speaker 2>years came on the radio and I'm like, oh my god,

1:24:06.000 --> 1:24:10.000
<v Speaker 2>you know, here we are, you know, welcome to the doubt,

1:24:10.080 --> 1:24:12.840
<v Speaker 2>the downslide of the roller coaster. But yeah, you know,

1:24:13.160 --> 1:24:16.760
<v Speaker 2>it's it's it's very hard. It's you know, you go

1:24:16.800 --> 1:24:19.760
<v Speaker 2>into a funk, you're depressed. But you know, the nice

1:24:19.760 --> 1:24:22.320
<v Speaker 2>thing is I had my wife, and I had Precision Wire,

1:24:22.400 --> 1:24:24.200
<v Speaker 2>and I had things in my life that weren't just

1:24:24.320 --> 1:24:27.439
<v Speaker 2>only music related. My whole kind of self esteem was

1:24:27.479 --> 1:24:31.200
<v Speaker 2>not wrapped up into you know, having another hit song.

1:24:31.320 --> 1:24:35.000
<v Speaker 2>And so many of my you know, my fellow kind

1:24:35.000 --> 1:24:37.720
<v Speaker 2>of musicians of the two thousands, we all kind of

1:24:37.760 --> 1:24:41.400
<v Speaker 2>hit that wall at some point. But yeah, it sucked,

1:24:41.680 --> 1:24:42.840
<v Speaker 2>Yeah it sucked.

1:24:43.479 --> 1:24:45.840
<v Speaker 1>And then what was your experience like it wind up?

1:24:46.600 --> 1:24:50.760
<v Speaker 2>It was wonderful. Ed Vetri just a wonderful guy. I

1:24:50.840 --> 1:24:53.639
<v Speaker 2>loved ed you know, he was all about musicians. They'd

1:24:53.640 --> 1:24:57.400
<v Speaker 2>had so much success and Greg Wattenberg being one of

1:24:57.400 --> 1:25:01.200
<v Speaker 2>the principles there kind of run winds up and we

1:25:01.280 --> 1:25:04.160
<v Speaker 2>got to make one more record, which I'm so glad

1:25:04.160 --> 1:25:06.120
<v Speaker 2>we did because you know what I didn't tell you

1:25:06.160 --> 1:25:09.599
<v Speaker 2>about the Battle for Everything was when the Bill Betrell

1:25:09.680 --> 1:25:14.000
<v Speaker 2>record kind of hit the wall, I had one hundred

1:25:14.080 --> 1:25:16.680
<v Speaker 2>years and I went back to Greg and I said, hey, man,

1:25:16.800 --> 1:25:19.120
<v Speaker 2>I really like you to do this with me. And

1:25:20.240 --> 1:25:22.479
<v Speaker 2>to his credit, he was willing to do that because

1:25:22.560 --> 1:25:26.320
<v Speaker 2>you know, he wasn't happy with me going to Bill Betrell.

1:25:26.360 --> 1:25:28.160
<v Speaker 2>He's like, look, man, we just made this hit song

1:25:28.200 --> 1:25:31.240
<v Speaker 2>and you're leaving. And in a sense he was right.

1:25:31.880 --> 1:25:35.080
<v Speaker 2>I I you know, I was maybe feeling my oats,

1:25:35.720 --> 1:25:39.599
<v Speaker 2>and to Greg's credit, he said, yeah, you know, let's

1:25:39.640 --> 1:25:44.400
<v Speaker 2>do it. And Greg, you know, his mastery at creating

1:25:44.880 --> 1:25:48.360
<v Speaker 2>pop song hits not just for me, but for training

1:25:48.400 --> 1:25:50.639
<v Speaker 2>and many other people, he was willing to do that,

1:25:50.680 --> 1:25:53.680
<v Speaker 2>and I'm always be grateful for him. So so to

1:25:54.479 --> 1:25:56.400
<v Speaker 2>go back and make a full record with Greg at

1:25:56.439 --> 1:25:59.559
<v Speaker 2>wind Up and just have those those nights in the

1:25:59.560 --> 1:26:02.200
<v Speaker 2>studio and the jokes and the laughs and the fun,

1:26:03.560 --> 1:26:07.559
<v Speaker 2>I really treasure that and and I'll always be grateful

1:26:07.600 --> 1:26:09.280
<v Speaker 2>to him because he is certainly a master of what

1:26:09.360 --> 1:26:10.280
<v Speaker 2>he does.

1:26:10.920 --> 1:26:13.599
<v Speaker 1>Now you don't cut another studio album after that.

1:26:15.280 --> 1:26:18.479
<v Speaker 2>Yeah, you know, I was kind of I was kind

1:26:18.479 --> 1:26:21.360
<v Speaker 2>of looking to do other things. I kind of saw

1:26:21.360 --> 1:26:23.599
<v Speaker 2>the writing on the wall of there's so much that

1:26:23.680 --> 1:26:26.360
<v Speaker 2>goes into making a record and promoting a record, and

1:26:26.760 --> 1:26:31.559
<v Speaker 2>what's the real return. I'd always wanted to write a musical,

1:26:31.640 --> 1:26:35.720
<v Speaker 2>so I actually had the opportunity to work with some

1:26:37.000 --> 1:26:41.719
<v Speaker 2>alan Zwibel, Glenn Slater, some great musical writers. We actually

1:26:42.960 --> 1:26:47.280
<v Speaker 2>were hired to write Field of Dreams, which for me

1:26:47.520 --> 1:26:51.040
<v Speaker 2>was a wonderful experience. I grew up on musical theater.

1:26:51.080 --> 1:26:56.400
<v Speaker 2>I'd written some songs with Stephen Schwartz, the amazing Iconic Broadway,

1:26:56.560 --> 1:26:59.479
<v Speaker 2>you know, genius behind Wicked and Godspell. So I had

1:26:59.520 --> 1:27:02.519
<v Speaker 2>a great affy for musical theater. And we actually spent

1:27:02.560 --> 1:27:06.120
<v Speaker 2>a year writing i know, eight or nine songs for

1:27:06.240 --> 1:27:10.000
<v Speaker 2>Field of Dreams, and Alan wrote a great kind of book,

1:27:10.640 --> 1:27:14.559
<v Speaker 2>and like sometimes happens in that world, the thing blew

1:27:14.640 --> 1:27:17.680
<v Speaker 2>up overnight and I learned my lesson. It was it

1:27:17.720 --> 1:27:21.120
<v Speaker 2>was my records all over again. But I was also

1:27:21.200 --> 1:27:25.400
<v Speaker 2>able to write, you know, some songs for film and

1:27:25.400 --> 1:27:28.479
<v Speaker 2>and and also frankly, I did a lot outside of music.

1:27:28.520 --> 1:27:30.880
<v Speaker 2>You know. My dad was getting older, and I started

1:27:30.880 --> 1:27:34.040
<v Speaker 2>putting much more time at Precision Wire, and I started

1:27:34.040 --> 1:27:37.559
<v Speaker 2>doing symphony shows. I started doing keynotes, which to this

1:27:37.640 --> 1:27:39.400
<v Speaker 2>day is something I love to do, you know, Ted

1:27:39.439 --> 1:27:44.080
<v Speaker 2>talks and keynotes and kind of learning about companies and

1:27:44.120 --> 1:27:47.440
<v Speaker 2>speaking to people and trying to share kind of my

1:27:47.439 --> 1:27:50.080
<v Speaker 2>my business acumen with some of my songs. So I

1:27:50.080 --> 1:27:54.519
<v Speaker 2>had these other things going on, but I do regret,

1:27:54.720 --> 1:27:57.559
<v Speaker 2>you know, not kind of making another record, and you know,

1:27:58.320 --> 1:28:01.120
<v Speaker 2>maybe there's still that the future, you know, for folks

1:28:01.120 --> 1:28:02.599
<v Speaker 2>who still remember what records are.

1:28:03.680 --> 1:28:09.360
<v Speaker 1>Okay, you have this big hit with Superman. There's publishing

1:28:09.439 --> 1:28:12.360
<v Speaker 1>and then there's record royalties. Do you ever get a

1:28:12.360 --> 1:28:13.160
<v Speaker 1>record royalty?

1:28:13.720 --> 1:28:19.559
<v Speaker 2>No, nope. The budget for the Superman video was four

1:28:19.600 --> 1:28:25.639
<v Speaker 2>hundred and fifty thousand dollars. That's as you know, that's

1:28:25.680 --> 1:28:28.280
<v Speaker 2>what they were spending back there. They you know, however

1:28:28.320 --> 1:28:31.000
<v Speaker 2>they do their accounting. I will never see a penny

1:28:31.040 --> 1:28:33.080
<v Speaker 2>from record sales. I think we've probably sold, you know,

1:28:33.160 --> 1:28:35.920
<v Speaker 2>maybe two and a half million records, which is amazing.

1:28:36.479 --> 1:28:39.360
<v Speaker 2>But they did spend a lot of money because it

1:28:39.439 --> 1:28:41.160
<v Speaker 2>wasn't a band, you know, so there was a lot

1:28:41.200 --> 1:28:45.320
<v Speaker 2>of tour support and so no, I never, I never,

1:28:45.360 --> 1:28:49.600
<v Speaker 2>and I never will receive money from record sales. But

1:28:49.760 --> 1:28:54.839
<v Speaker 2>fortunately for me, you know, I wrote I wrote Superman

1:28:54.880 --> 1:28:57.320
<v Speaker 2>one hundred years myself, and and those songs have been

1:28:57.400 --> 1:29:01.000
<v Speaker 2>very lucrative. And you own those songs, yes, sir.

1:29:01.880 --> 1:29:05.040
<v Speaker 1>And with the insanity of the last handful of years,

1:29:05.439 --> 1:29:08.559
<v Speaker 1>has anybody ever approached you or you ever thought about

1:29:08.600 --> 1:29:09.520
<v Speaker 1>selling them?

1:29:10.080 --> 1:29:16.960
<v Speaker 2>Yes, I get approached a lot. I really like having

1:29:17.000 --> 1:29:23.160
<v Speaker 2>control over my songs I've seen, especially one hundred years

1:29:23.160 --> 1:29:26.400
<v Speaker 2>in Superman, you know, have been very important in many

1:29:26.600 --> 1:29:30.360
<v Speaker 2>causes that are important to me. Als are troops, and

1:29:30.439 --> 1:29:31.800
<v Speaker 2>I like to be able to say I'm going to

1:29:31.880 --> 1:29:35.519
<v Speaker 2>license that for free, and and I like to be

1:29:35.560 --> 1:29:38.280
<v Speaker 2>able to do that. And I've been with Cobalt for

1:29:38.320 --> 1:29:42.400
<v Speaker 2>the last six seven years and they've been great about

1:29:42.439 --> 1:29:46.360
<v Speaker 2>just you know, hey, if it's a gratis license, no problem.

1:29:46.560 --> 1:29:49.559
<v Speaker 2>So and at the same time, you know, I think

1:29:50.400 --> 1:29:54.760
<v Speaker 2>my catalog, it's it's certainly real money. It's it's not like,

1:29:55.040 --> 1:29:57.559
<v Speaker 2>you know, I'm gonna lay on a beach for thirty

1:29:57.600 --> 1:30:01.680
<v Speaker 2>years money. So yeah, So I've been approached, but I

1:30:01.760 --> 1:30:04.200
<v Speaker 2>just like having my songs and maybe one day, you know,

1:30:04.280 --> 1:30:06.840
<v Speaker 2>if they're still worth anything, you know, my kids will

1:30:06.840 --> 1:30:09.479
<v Speaker 2>sell them, but I like keeping them.

1:30:09.960 --> 1:30:12.720
<v Speaker 1>How many licenses or sinks do you get in the year.

1:30:15.200 --> 1:30:17.680
<v Speaker 2>Not as many as I used to, maybe, you know,

1:30:17.760 --> 1:30:21.640
<v Speaker 2>maybe five to ten. I also kind of write songs,

1:30:21.720 --> 1:30:24.320
<v Speaker 2>you know, to projects. I wrote a song called All

1:30:24.360 --> 1:30:28.160
<v Speaker 2>for One that was the the one hundredth episode of

1:30:28.240 --> 1:30:31.200
<v Speaker 2>Hawai Fi O and their their their entitle for their

1:30:31.280 --> 1:30:36.320
<v Speaker 2>last their last episode. So every once in a while,

1:30:36.360 --> 1:30:38.680
<v Speaker 2>I'll write a song for a film. I have a

1:30:38.720 --> 1:30:42.240
<v Speaker 2>couple movies kind of that I that I've developed with

1:30:42.240 --> 1:30:44.719
<v Speaker 2>a couple of friends of mine that that have been bought.

1:30:44.760 --> 1:30:47.920
<v Speaker 2>We'll see if they get made. But back in the day, yeah,

1:30:47.960 --> 1:30:49.680
<v Speaker 2>I mean I probably have you know, two hundred and

1:30:49.680 --> 1:30:56.080
<v Speaker 2>fifty three hundred licenses under my belt, which is pretty nuts.

1:30:55.880 --> 1:31:01.120
<v Speaker 1>And generally speaking, has income going down stay or going up?

1:31:01.880 --> 1:31:03.960
<v Speaker 2>No, it's gone down, you know, I think every year.

1:31:04.840 --> 1:31:07.080
<v Speaker 2>But it hasn't gone down as much as you know,

1:31:07.120 --> 1:31:12.320
<v Speaker 2>as I would think the certainly Superman in one hundred years.

1:31:12.360 --> 1:31:16.759
<v Speaker 2>Still you hear within the culture people are still making

1:31:16.760 --> 1:31:20.840
<v Speaker 2>home movies to those songs and graduations, particularly hundred years

1:31:21.600 --> 1:31:25.519
<v Speaker 2>Superman was just used in a big TV use this year.

1:31:26.439 --> 1:31:30.720
<v Speaker 2>So they still kind of you know, are lucrative and

1:31:30.720 --> 1:31:33.920
<v Speaker 2>and the rest of the catgalog too kind of you know,

1:31:35.320 --> 1:31:39.120
<v Speaker 2>still kind of has some interest from folks and so yeah,

1:31:39.120 --> 1:31:41.200
<v Speaker 2>but yeah, of course, you know, it's gone down, I mean,

1:31:41.479 --> 1:31:49.200
<v Speaker 2>and that's sad. With kind of streaming and Shazam, there's

1:31:49.240 --> 1:31:53.880
<v Speaker 2>a whole new generation of kids finding these songs, you know,

1:31:54.360 --> 1:31:56.759
<v Speaker 2>that have never heard them before. I have kids seventeen

1:31:56.800 --> 1:31:58.559
<v Speaker 2>years old at my concerts who weren't alive when I

1:31:58.560 --> 1:32:01.400
<v Speaker 2>wrote them. So, you know, that's also pretty cool and

1:32:01.400 --> 1:32:04.680
<v Speaker 2>surreal and superman.

1:32:06.200 --> 1:32:08.360
<v Speaker 1>I know you've been asked this question a lot, but

1:32:08.360 --> 1:32:11.160
<v Speaker 1>are you the type of person who hammers the song

1:32:11.240 --> 1:32:14.080
<v Speaker 1>out or there's a burst of inspiration? How did you

1:32:14.200 --> 1:32:15.120
<v Speaker 1>create that song?

1:32:16.400 --> 1:32:19.800
<v Speaker 2>That song was a gift. I basically wrote the whole

1:32:19.840 --> 1:32:23.280
<v Speaker 2>thing in an hour. At the time, I didn't think

1:32:23.320 --> 1:32:25.839
<v Speaker 2>it was for me. I you know, I was fancy

1:32:25.880 --> 1:32:30.439
<v Speaker 2>myself as a rock guy. But when I played it

1:32:30.479 --> 1:32:33.200
<v Speaker 2>for Greg, he kept kept insisting we put it on

1:32:33.280 --> 1:32:36.160
<v Speaker 2>the record. But that's you know, the joke is, I've

1:32:36.160 --> 1:32:40.040
<v Speaker 2>been looking for that you know hour ever since, because

1:32:40.080 --> 1:32:42.760
<v Speaker 2>whatever it was was a gift, and of course you

1:32:42.800 --> 1:32:45.800
<v Speaker 2>write thousands of songs to try to find that hour.

1:32:46.080 --> 1:32:48.639
<v Speaker 2>You know, I wrote thousands of songs before Superman. I've

1:32:48.640 --> 1:32:52.720
<v Speaker 2>probably written a thousand or two since then. But you know,

1:32:52.760 --> 1:32:55.519
<v Speaker 2>I think that sentiment of it's not easy to be

1:32:55.640 --> 1:33:01.519
<v Speaker 2>me when you're kind of a young writer, know, hitting

1:33:01.520 --> 1:33:03.519
<v Speaker 2>the wall of the music business. Like so many who

1:33:03.560 --> 1:33:08.240
<v Speaker 2>listen to your podcast, everybody understands that desire just to

1:33:08.240 --> 1:33:11.640
<v Speaker 2>be heard, and that was me. I just I just

1:33:11.680 --> 1:33:14.360
<v Speaker 2>wanted to be heard. If nobody wanted to hear me

1:33:14.400 --> 1:33:16.960
<v Speaker 2>after that, that's fine, And that was kind of the

1:33:17.000 --> 1:33:19.200
<v Speaker 2>inspiration for Superman. It's certainly not a song I could

1:33:19.200 --> 1:33:22.519
<v Speaker 2>write now. It's certainly easy to be me, It's easy

1:33:22.560 --> 1:33:24.880
<v Speaker 2>to be most of us. But that was the sentiment

1:33:24.920 --> 1:33:26.360
<v Speaker 2>of that song, and I think that's why it resonates.

1:33:26.400 --> 1:33:30.120
<v Speaker 2>You know, a funny story about Superman. When it started

1:33:30.120 --> 1:33:32.479
<v Speaker 2>to become popular, Columbia Records came to me and said,

1:33:32.520 --> 1:33:35.400
<v Speaker 2>you know, John, something really weird is happening with your song.

1:33:36.160 --> 1:33:38.240
<v Speaker 2>And I'm like, what are you talking about. They're like,

1:33:38.840 --> 1:33:41.559
<v Speaker 2>adults are buying your song. I'm like, what do you mean,

1:33:41.600 --> 1:33:44.160
<v Speaker 2>adults are buying my song? They like, yeah, people in

1:33:44.200 --> 1:33:48.120
<v Speaker 2>their thirties and forties are buying your song. And I'm like,

1:33:48.200 --> 1:33:50.840
<v Speaker 2>what the hell are you talking about. But you know,

1:33:51.040 --> 1:33:53.320
<v Speaker 2>in retrospect, you know, it makes sense. You know, who

1:33:53.360 --> 1:33:57.719
<v Speaker 2>buys records teenagers? But why were adults buying Superman? Because

1:33:57.720 --> 1:34:01.599
<v Speaker 2>I think adults, especially men men, never buy music. You know,

1:34:01.840 --> 1:34:04.759
<v Speaker 2>the whole theme of we can't be everything for everyone.

1:34:04.880 --> 1:34:06.960
<v Speaker 2>You know, My Superman is different than all the other

1:34:07.000 --> 1:34:10.439
<v Speaker 2>Superman songs. My Superman is you know, I can't stand

1:34:10.439 --> 1:34:12.559
<v Speaker 2>a fly who wouldn't want to fly? People? Don't you know?

1:34:12.720 --> 1:34:15.360
<v Speaker 2>My song is Superman doesn't want to be Superman because

1:34:15.400 --> 1:34:18.000
<v Speaker 2>we can't be everything for everybody. So I think that

1:34:18.200 --> 1:34:21.799
<v Speaker 2>sentiment really resonated with adults, and the song was different

1:34:21.840 --> 1:34:25.400
<v Speaker 2>in that way. But again, I still love playing it

1:34:25.439 --> 1:34:27.680
<v Speaker 2>every night. I love playing one hundred years every night.

1:34:28.240 --> 1:34:31.000
<v Speaker 2>I don't get sick of it. There's always a reason

1:34:31.080 --> 1:34:33.400
<v Speaker 2>to do it. There's always someone in the audience that's

1:34:33.600 --> 1:34:35.439
<v Speaker 2>going to see it and sing it just one time

1:34:35.479 --> 1:34:38.880
<v Speaker 2>in their life. So it's I am truly grateful for

1:34:38.920 --> 1:34:40.120
<v Speaker 2>both those songs.

1:34:40.640 --> 1:34:44.320
<v Speaker 1>And you have this music challenge tell us about that.

1:34:44.800 --> 1:34:47.920
<v Speaker 2>Oh thank you for mentioning that. Yeah, it's called the

1:34:48.000 --> 1:34:52.360
<v Speaker 2>Music Matters Challenge, and it's a national music contest to

1:34:52.560 --> 1:34:55.160
<v Speaker 2>raise awareness for music in the schools. We've already talked

1:34:55.160 --> 1:34:57.800
<v Speaker 2>about my mom coming in and kind of being a

1:34:57.880 --> 1:35:01.519
<v Speaker 2>music teacher for our school that lost a music teacher.

1:35:01.960 --> 1:35:04.519
<v Speaker 2>And the challenge was inspired by a song I wrote

1:35:04.520 --> 1:35:07.080
<v Speaker 2>with some Chicago inner city kids last year. They'd lost

1:35:07.080 --> 1:35:10.559
<v Speaker 2>their music teacher. They were not musicians, they were just students,

1:35:10.560 --> 1:35:12.599
<v Speaker 2>and we wrote a song called let music film My world.

1:35:12.800 --> 1:35:15.080
<v Speaker 1>Wait were a little bit slower. How does that come

1:35:15.160 --> 1:35:17.879
<v Speaker 1>to pass that you're writing a song with kids in Chicago.

1:35:18.400 --> 1:35:23.400
<v Speaker 2>Yeah, an amazing family in Chicago called the Tallman family

1:35:23.920 --> 1:35:26.360
<v Speaker 2>does a lot of great work with the schools in Chicago,

1:35:26.479 --> 1:35:28.679
<v Speaker 2>and they had helped fund some of my Afghan work,

1:35:28.760 --> 1:35:32.519
<v Speaker 2>some of my Ukraine work, and we were talking about

1:35:32.560 --> 1:35:35.320
<v Speaker 2>how can we do something for music in the schools

1:35:35.920 --> 1:35:39.040
<v Speaker 2>and I told I told Kaylee Tallman about my experience

1:35:39.040 --> 1:35:41.639
<v Speaker 2>with my mom, and I said, you know, let's find

1:35:41.640 --> 1:35:45.040
<v Speaker 2>some kids, let's write a song, and let's fund a

1:35:45.120 --> 1:35:48.240
<v Speaker 2>music teacher for a school in need. And they did.

1:35:48.320 --> 1:35:50.880
<v Speaker 2>We funded a teacher for three years at a quarter

1:35:50.920 --> 1:35:54.040
<v Speaker 2>million dollars, and now Farragut Academy has a music teacher.

1:35:54.760 --> 1:35:57.680
<v Speaker 2>And through that effort, we said, well, let's take this nationally.

1:35:58.280 --> 1:36:00.240
<v Speaker 2>And that's what the Music Matters Challenge is. This is

1:36:00.240 --> 1:36:04.479
<v Speaker 2>where anybody, everybody, you, bob, could make a video talk

1:36:04.520 --> 1:36:08.160
<v Speaker 2>about a music teacher that mattered to you, sing a

1:36:08.200 --> 1:36:10.240
<v Speaker 2>little bit of a let music film my world. People

1:36:10.320 --> 1:36:14.840
<v Speaker 2>upload their videos and then the winner will win ten

1:36:14.880 --> 1:36:17.880
<v Speaker 2>thousand dollars and will provide a music teacher again for

1:36:17.960 --> 1:36:21.559
<v Speaker 2>a school in need, with the winner for three hundred

1:36:21.560 --> 1:36:23.960
<v Speaker 2>grand and three years. But it's really an effort to

1:36:24.040 --> 1:36:26.439
<v Speaker 2>raise awareness for the four million kids in America who

1:36:26.439 --> 1:36:27.559
<v Speaker 2>do not have a music teacher.

1:36:28.600 --> 1:36:32.840
<v Speaker 1>Now, you mentioned that the Tolmans helped you financially with

1:36:33.080 --> 1:36:37.439
<v Speaker 1>Ukraine and Afghanistan. How did you meet these people? How

1:36:37.479 --> 1:36:39.800
<v Speaker 1>hard was it to get the money? What did the

1:36:39.840 --> 1:36:43.280
<v Speaker 1>money actually go for? Yeah?

1:36:43.320 --> 1:36:47.080
<v Speaker 2>I actually for many years I've done keynotes for a

1:36:47.120 --> 1:36:52.360
<v Speaker 2>group called the YPO. It's the Young President's Organizations, a

1:36:52.400 --> 1:36:57.000
<v Speaker 2>group with chapters all across the nation with young presidents

1:36:57.080 --> 1:37:01.680
<v Speaker 2>under forty who run big companies. And Glen Tolman was

1:37:01.680 --> 1:37:05.519
<v Speaker 2>one of those folks I met years ago. And when

1:37:05.600 --> 1:37:09.599
<v Speaker 2>I was doing this work for Afghanistan and particularly Ukraine,

1:37:09.840 --> 1:37:12.960
<v Speaker 2>it was very expensive to go to Ukraine. I kind

1:37:12.960 --> 1:37:16.040
<v Speaker 2>of fund all these myself, so the Ukraine, you know,

1:37:16.080 --> 1:37:20.120
<v Speaker 2>going over there, he you know, he gave us a

1:37:21.080 --> 1:37:23.360
<v Speaker 2>little bit of a donation to help with some of

1:37:23.400 --> 1:37:27.240
<v Speaker 2>the funding. They're just an amazing family that do incredible

1:37:27.280 --> 1:37:31.080
<v Speaker 2>things and I'm honored to partner with them on these projects.

1:37:31.680 --> 1:37:36.360
<v Speaker 1>Okay, you talk about doing these keynotes, is this a business?

1:37:36.479 --> 1:37:39.040
<v Speaker 1>Do you have an agent? Do you do it X

1:37:39.160 --> 1:37:41.120
<v Speaker 1>number of times a year or is it once in

1:37:41.160 --> 1:37:42.040
<v Speaker 1>the blue moon.

1:37:43.080 --> 1:37:46.920
<v Speaker 2>Yeah. The nice thing about having a music agent Larry Webman,

1:37:47.240 --> 1:37:49.720
<v Speaker 2>you know Ed Wasserman who's incredible and been with me,

1:37:50.320 --> 1:37:54.479
<v Speaker 2>you know, for many years, and his associate Max. The

1:37:54.600 --> 1:37:56.439
<v Speaker 2>nice thing about having a music agent is that you

1:37:56.439 --> 1:37:59.200
<v Speaker 2>can work through all of the speakers bureaus. So there's

1:37:59.240 --> 1:38:03.480
<v Speaker 2>three or four Speeders bureaus that we work with that

1:38:03.479 --> 1:38:07.160
<v Speaker 2>that hire me to come do keynotes. Sometimes it's for companies,

1:38:07.200 --> 1:38:15.280
<v Speaker 2>sometimes it's for organizations, sometimes it's sometimes it's for schools.

1:38:15.720 --> 1:38:18.360
<v Speaker 2>And I probably do you know, six to seven years.

1:38:18.400 --> 1:38:21.280
<v Speaker 2>I was just in New York. Actually I did one

1:38:21.320 --> 1:38:25.240
<v Speaker 2>for all of the federal judges. There was one hundred

1:38:25.280 --> 1:38:31.120
<v Speaker 2>federal judges there and a lot of the the the

1:38:31.200 --> 1:38:35.519
<v Speaker 2>lawyers who handle the trademarks and the intellectual property. Black

1:38:35.560 --> 1:38:40.120
<v Speaker 2>tie event very prestigious in New York City, and uh

1:38:40.479 --> 1:38:42.519
<v Speaker 2>I got to you know, speak and talk to them,

1:38:42.520 --> 1:38:44.120
<v Speaker 2>which meant a lot to me because my aunt is

1:38:44.120 --> 1:38:47.639
<v Speaker 2>a is a Pelli Court judge. So I meet incredible people,

1:38:47.680 --> 1:38:51.800
<v Speaker 2>I learn about these organizations, and I really enjoy doing it.

1:38:52.680 --> 1:38:54.760
<v Speaker 2>And as I said, I probably do five or six

1:38:54.760 --> 1:38:55.120
<v Speaker 2>a year.

1:38:55.479 --> 1:38:58.040
<v Speaker 1>Okay, what's the pitch to hire you.

1:39:01.280 --> 1:39:04.519
<v Speaker 2>What kind of world do you want? How does music

1:39:04.720 --> 1:39:08.679
<v Speaker 2>and inspiration and where do where do songs come from?

1:39:08.720 --> 1:39:12.360
<v Speaker 2>How do you mix creativity with your business acumen? But

1:39:12.520 --> 1:39:14.920
<v Speaker 2>you know, we kind of pitch it more to the

1:39:15.960 --> 1:39:18.200
<v Speaker 2>to the client depending on what they do. But look,

1:39:18.320 --> 1:39:21.719
<v Speaker 2>here's the thing that's cool. Nobody knows who I am,

1:39:22.160 --> 1:39:25.320
<v Speaker 2>but they know Superman, they know hundred Years. So here's

1:39:25.320 --> 1:39:28.240
<v Speaker 2>a guy that can talk about running a family business

1:39:28.280 --> 1:39:31.080
<v Speaker 2>and selling shopping carts and also how do you write

1:39:31.080 --> 1:39:36.320
<v Speaker 2>a song? So I'm certainly not you know Schwartz Cough

1:39:36.479 --> 1:39:38.680
<v Speaker 2>or you know Peyton Manning or the guys who do

1:39:38.760 --> 1:39:42.680
<v Speaker 2>these speeches. But but I think people get something out

1:39:42.720 --> 1:39:44.519
<v Speaker 2>of it because it's interesting to know where do songs

1:39:44.560 --> 1:39:47.320
<v Speaker 2>come from? What is that creative process? What does it

1:39:47.400 --> 1:39:51.320
<v Speaker 2>take to have that you know, spark of inspiration to

1:39:51.439 --> 1:39:53.720
<v Speaker 2>write a song like you know Superman or hundred Years.

1:39:53.720 --> 1:39:55.719
<v Speaker 2>You know, I've had it happen two or three times.

1:39:55.760 --> 1:39:59.400
<v Speaker 2>You know, Paul McCartney has it happened pretty every every Thursday.

1:39:59.760 --> 1:40:02.840
<v Speaker 2>So so you know, for me, I think that's what

1:40:02.880 --> 1:40:05.240
<v Speaker 2>people are interested in the creative process and how can

1:40:05.280 --> 1:40:06.360
<v Speaker 2>that apply to their business?

1:40:06.680 --> 1:40:10.280
<v Speaker 1>Okay, if I see you with the judges last week,

1:40:10.560 --> 1:40:14.280
<v Speaker 1>and I see you at some Companies confab in June.

1:40:14.280 --> 1:40:15.679
<v Speaker 1>Am I going to get the same speech?

1:40:16.760 --> 1:40:19.920
<v Speaker 2>Good question. The middle of it will be the same,

1:40:20.439 --> 1:40:23.280
<v Speaker 2>but the opening will always be different. It will always

1:40:23.320 --> 1:40:26.200
<v Speaker 2>be tailored to the audience, to the business, to what

1:40:26.240 --> 1:40:29.320
<v Speaker 2>we're talking about, and the end will always be different.

1:40:29.400 --> 1:40:31.680
<v Speaker 2>And in the end, I play my song World that

1:40:31.760 --> 1:40:34.160
<v Speaker 2>talks about what kind of world do you want? And

1:40:34.400 --> 1:40:36.559
<v Speaker 2>it has nothing to do with music. It's really talks

1:40:36.600 --> 1:40:40.400
<v Speaker 2>about kind of ourselves, our well being, the world we're

1:40:41.000 --> 1:40:44.000
<v Speaker 2>we're in, and how we take care of ourselves and

1:40:44.000 --> 1:40:45.679
<v Speaker 2>how the how we need to take care of ourselves

1:40:45.760 --> 1:40:48.960
<v Speaker 2>first before we take care of others. So the middle

1:40:48.960 --> 1:40:52.760
<v Speaker 2>of the of the keynote is pretty standard. But I

1:40:52.800 --> 1:40:56.240
<v Speaker 2>always try to learn as much about the people I

1:40:56.320 --> 1:40:58.200
<v Speaker 2>talk to as they learn about me.

1:40:59.000 --> 1:41:01.200
<v Speaker 1>And how much preper we require.

1:41:02.360 --> 1:41:05.759
<v Speaker 2>A certainly more than playing a concert. You know, probably

1:41:05.920 --> 1:41:10.160
<v Speaker 2>probably maybe you know, eight to ten hours of learning

1:41:10.240 --> 1:41:13.080
<v Speaker 2>the count, learn about the content company. I talked to

1:41:13.600 --> 1:41:18.599
<v Speaker 2>the client, we have a phone call, I do my research.

1:41:18.640 --> 1:41:21.000
<v Speaker 2>I kind of prepare my remarks. You know this. You

1:41:21.080 --> 1:41:23.479
<v Speaker 2>need to memorize this stuff. You can't be reading notes.

1:41:23.800 --> 1:41:26.120
<v Speaker 2>So maybe not that much. Maybe you know, maybe you

1:41:26.160 --> 1:41:29.120
<v Speaker 2>know six to eight hours and I've done this enough

1:41:29.160 --> 1:41:31.439
<v Speaker 2>now that that I can kind of I kind of

1:41:31.439 --> 1:41:34.160
<v Speaker 2>got a groove in it. But it is a lot

1:41:34.160 --> 1:41:34.519
<v Speaker 2>of fun.

1:41:35.320 --> 1:41:39.760
<v Speaker 1>Okay. So therefore, are you riffing off the top of

1:41:39.840 --> 1:41:41.840
<v Speaker 1>your head or have you literally memorized it?

1:41:42.800 --> 1:41:45.760
<v Speaker 2>I think you, uh, it's interesting. I kind of went

1:41:45.800 --> 1:41:48.519
<v Speaker 2>through this through my speech at UCLA. I think the

1:41:48.600 --> 1:41:50.559
<v Speaker 2>best way to do it is you you kind of

1:41:50.640 --> 1:41:53.880
<v Speaker 2>know your talking points, you have an outline, you know

1:41:53.920 --> 1:41:56.760
<v Speaker 2>what you want to hit. You don't want to basically

1:41:57.880 --> 1:42:00.960
<v Speaker 2>learn lines because it then it sounds ripped. It So

1:42:01.439 --> 1:42:03.439
<v Speaker 2>you want to be kind of relaxed, You want to

1:42:03.439 --> 1:42:06.000
<v Speaker 2>be in the moment, but you need to hit your marks.

1:42:06.240 --> 1:42:08.240
<v Speaker 2>So that's kind of how it is for me when

1:42:08.240 --> 1:42:10.920
<v Speaker 2>I have my notes that I'm prepping. It's not a

1:42:10.960 --> 1:42:14.640
<v Speaker 2>script that I just read. It's it's an outline. I

1:42:14.680 --> 1:42:16.759
<v Speaker 2>need to start here, I need to hit this point

1:42:17.080 --> 1:42:20.639
<v Speaker 2>at this point, maybe tell this joke. But also, it's

1:42:20.720 --> 1:42:24.400
<v Speaker 2>like performing at a show. You let your audience, you know,

1:42:24.720 --> 1:42:27.240
<v Speaker 2>give you feedback, and you kind of roll with what

1:42:27.840 --> 1:42:31.599
<v Speaker 2>they're doing. And there's not a lot of difference between

1:42:31.600 --> 1:42:35.160
<v Speaker 2>doing a keynote and doing a rock show, frankly, because

1:42:35.200 --> 1:42:37.479
<v Speaker 2>you are feeding off the audience. You're seeing what's working

1:42:37.479 --> 1:42:40.040
<v Speaker 2>in real time, you're seeing what's not working. You adjust

1:42:40.120 --> 1:42:44.040
<v Speaker 2>on the fly. But of course, you know, you know,

1:42:44.200 --> 1:42:47.320
<v Speaker 2>you have your pillars of your set or your speech,

1:42:47.479 --> 1:42:49.080
<v Speaker 2>and you make sure you hit those.

1:42:50.000 --> 1:42:53.880
<v Speaker 1>Okay, you stop making records with wind up and you

1:42:53.920 --> 1:42:58.759
<v Speaker 1>talk about writing a musical, et cetera. Are you playing

1:42:58.800 --> 1:43:01.719
<v Speaker 1>live throughout this or if you stopped for a while.

1:43:02.200 --> 1:43:05.920
<v Speaker 2>No, we're still touring. You know. I started doing a

1:43:05.920 --> 1:43:07.599
<v Speaker 2>lot more string quartet shows.

1:43:07.680 --> 1:43:11.160
<v Speaker 1>I was doing so a little bit slower. How does

1:43:11.160 --> 1:43:14.080
<v Speaker 1>the string quartet come together? How does that idea come

1:43:14.120 --> 1:43:15.640
<v Speaker 1>to you in execution?

1:43:16.320 --> 1:43:22.160
<v Speaker 2>Yeah? I started doing symphony shows kind of i'd say,

1:43:22.240 --> 1:43:26.160
<v Speaker 2>you know a little over ten years ago, which was amazing.

1:43:26.680 --> 1:43:30.040
<v Speaker 2>It was kind of rebirth for me. I've had the

1:43:30.080 --> 1:43:35.080
<v Speaker 2>blessing to work with incredible composers George del Barrio, go

1:43:35.160 --> 1:43:37.280
<v Speaker 2>down the list, and so I have a lot of

1:43:37.560 --> 1:43:40.280
<v Speaker 2>songs that I wouldn't necessarily play in a rock show

1:43:41.080 --> 1:43:44.639
<v Speaker 2>that I can play with the string with the symphony,

1:43:45.320 --> 1:43:48.120
<v Speaker 2>and those went so well. I wanted to take that

1:43:48.160 --> 1:43:53.160
<v Speaker 2>experience to smaller markets. So I formed a string quartet

1:43:53.880 --> 1:43:59.960
<v Speaker 2>amazing Broadway players, just prodigy players, and for a decade

1:44:00.080 --> 1:44:03.200
<v Speaker 2>now I do probably in the spring and the fall,

1:44:03.720 --> 1:44:06.519
<v Speaker 2>I will do a string quartet tour. I just finished

1:44:06.520 --> 1:44:09.680
<v Speaker 2>one last week. So it's just me the string quartet

1:44:09.880 --> 1:44:13.000
<v Speaker 2>and we go to smaller venues. It's an intimate show,

1:44:13.120 --> 1:44:16.400
<v Speaker 2>it's a storytelling show. But they alone are worth the

1:44:16.439 --> 1:44:19.080
<v Speaker 2>price of admission. My violin player Katie just won a

1:44:19.080 --> 1:44:22.360
<v Speaker 2>Tony Award, and they inspire me every night. You know,

1:44:22.560 --> 1:44:25.280
<v Speaker 2>they take they take, I think, the songs to a

1:44:25.520 --> 1:44:28.519
<v Speaker 2>completely new level. So that's kind of been the drill.

1:44:28.640 --> 1:44:32.000
<v Speaker 2>You know, string quartet in the spring, rock band in

1:44:32.040 --> 1:44:36.479
<v Speaker 2>the summer, string quartet during the fall, and maybe you

1:44:36.520 --> 1:44:39.559
<v Speaker 2>know through keynote, few keynotes. So probably fifty shows a year.

1:44:40.400 --> 1:44:43.800
<v Speaker 1>Okay, you have these symphony shows. Are you sitting at

1:44:43.800 --> 1:44:46.960
<v Speaker 1>home or Larry sitting in the office and the phone rings?

1:44:46.960 --> 1:44:48.120
<v Speaker 1>How did they come to pass?

1:44:49.120 --> 1:44:51.000
<v Speaker 2>That's a good question. But there are you know, there

1:44:51.000 --> 1:44:54.320
<v Speaker 2>are symphonies out there that do look for for pop

1:44:54.400 --> 1:44:57.960
<v Speaker 2>artists to come play, and they're few and far between.

1:44:57.960 --> 1:45:00.679
<v Speaker 2>That's kind of why we started doing the Court because

1:45:00.680 --> 1:45:03.920
<v Speaker 2>you may get two symphony shows a year, I'm doing

1:45:04.000 --> 1:45:07.200
<v Speaker 2>one this year, and you know, but with the quartets,

1:45:07.280 --> 1:45:10.640
<v Speaker 2>you can go into pretty much any market and do

1:45:10.840 --> 1:45:13.519
<v Speaker 2>five hundred to one thousand seats, and frankly, for me,

1:45:13.600 --> 1:45:16.320
<v Speaker 2>it's it's my favorite way to perform because it really

1:45:16.360 --> 1:45:20.320
<v Speaker 2>is an intimate show. It's a storytelling show, and you

1:45:20.320 --> 1:45:23.880
<v Speaker 2>can play virtually every song off you know, off your

1:45:23.960 --> 1:45:27.160
<v Speaker 2>your album. So at the same time, I'm stoked to

1:45:27.200 --> 1:45:29.680
<v Speaker 2>go out with my rock band in two weeks, you know,

1:45:29.760 --> 1:45:31.599
<v Speaker 2>and get back in the bus with the boys and

1:45:32.080 --> 1:45:34.799
<v Speaker 2>you know, turn up the amps and you know, close

1:45:34.840 --> 1:45:37.160
<v Speaker 2>with Bohemian Rhapsody. You know, that's fun too.

1:45:38.000 --> 1:45:40.680
<v Speaker 1>And you go out with your band. You obviously are

1:45:40.720 --> 1:45:44.280
<v Speaker 1>the headliner in these smaller quartet shows, but when you

1:45:44.280 --> 1:45:46.960
<v Speaker 1>go out the band, you tend to go alone. You

1:45:46.960 --> 1:45:48.759
<v Speaker 1>you an opening act, closing act.

1:45:49.640 --> 1:45:52.559
<v Speaker 2>Good question. We pretty much alternate. As I said, last

1:45:52.600 --> 1:45:54.360
<v Speaker 2>year we were at with the Baar Naked Ladies, which

1:45:54.439 --> 1:45:58.360
<v Speaker 2>was just amazing because their audiences are fantastic, they are

1:45:58.360 --> 1:46:01.920
<v Speaker 2>wonderful humans, and you get to play for five thousand

1:46:01.960 --> 1:46:04.439
<v Speaker 2>to ten thousand people a night, so you get to,

1:46:04.560 --> 1:46:08.880
<v Speaker 2>you know, play rock star and have that experience. And

1:46:08.920 --> 1:46:12.400
<v Speaker 2>then this year we'll we'll headline, but we'll play smaller venues,

1:46:13.720 --> 1:46:15.720
<v Speaker 2>hopefully follow up some some of the markets we did

1:46:15.800 --> 1:46:18.280
<v Speaker 2>with The Bear Naked Ladies, and I imagine next summer

1:46:18.320 --> 1:46:21.479
<v Speaker 2>we'll probably open again. So we kind of go back

1:46:21.520 --> 1:46:23.840
<v Speaker 2>and forth. You know, we're certainly not at a level

1:46:23.880 --> 1:46:27.040
<v Speaker 2>where we can where we can headline, you know, five

1:46:27.080 --> 1:46:30.479
<v Speaker 2>thousand seat sheds. There's a few markets we can you know,

1:46:30.560 --> 1:46:33.000
<v Speaker 2>do a few thousand people, but we've never really risen

1:46:33.160 --> 1:46:35.400
<v Speaker 2>to that level of a touring act.

1:46:35.840 --> 1:46:38.880
<v Speaker 1>Okay, when you go out with either the quartet or

1:46:38.960 --> 1:46:43.080
<v Speaker 1>with your rock band, the bus picks you up and

1:46:43.120 --> 1:46:45.200
<v Speaker 1>the bus drops you off when the tour is over

1:46:45.400 --> 1:46:46.879
<v Speaker 1>or you're going home in between.

1:46:48.200 --> 1:46:51.640
<v Speaker 2>Yeah, for the quartet, we're just in a sprinter We

1:46:51.680 --> 1:46:54.160
<v Speaker 2>don't you know, we really don't have the bus. We

1:46:54.200 --> 1:46:56.800
<v Speaker 2>really can't afford it. It's kind of a break even

1:46:56.840 --> 1:47:00.200
<v Speaker 2>proposition for me. For the band will definitely you know,

1:47:00.720 --> 1:47:03.120
<v Speaker 2>we'll start in the bus, we'll go, we'll run the

1:47:03.160 --> 1:47:07.040
<v Speaker 2>tour and we'll be done. We don't go out that long.

1:47:07.080 --> 1:47:08.559
<v Speaker 2>I mean, the Bare Naked Ladies for us was a

1:47:08.560 --> 1:47:10.479
<v Speaker 2>long run. We're out for six weeks, which for me

1:47:10.560 --> 1:47:12.680
<v Speaker 2>is a long run. This year will only be out

1:47:12.720 --> 1:47:16.559
<v Speaker 2>three weeks. So yeah, we kind of just pop on

1:47:16.600 --> 1:47:20.280
<v Speaker 2>the bus, get through the tour, hopefully the voice survives,

1:47:20.640 --> 1:47:23.719
<v Speaker 2>and then you know, have my first glass of whiskey

1:47:23.760 --> 1:47:25.000
<v Speaker 2>on the last night after the show.

1:47:26.360 --> 1:47:28.720
<v Speaker 1>Why is it your first glass of whiskey at the

1:47:28.840 --> 1:47:29.320
<v Speaker 1>end of the.

1:47:29.240 --> 1:47:32.599
<v Speaker 2>Tour, Because with my voice, I have to be very

1:47:32.760 --> 1:47:36.719
<v Speaker 2>very careful my voice, the way I kind of sing

1:47:36.760 --> 1:47:40.360
<v Speaker 2>in the falsetto there throughout my whole career. I actually

1:47:40.360 --> 1:47:42.840
<v Speaker 2>had an injury when I was in my twenties. I

1:47:43.320 --> 1:47:47.400
<v Speaker 2>had my tonsils out and I started bleeding to a

1:47:47.439 --> 1:47:50.080
<v Speaker 2>point where they threw me in the emergency room and

1:47:50.120 --> 1:47:52.680
<v Speaker 2>cauterized my throat. So I have a huge scar on

1:47:52.680 --> 1:47:55.400
<v Speaker 2>my throat, which has always been kind of a hamstring

1:47:55.479 --> 1:47:58.760
<v Speaker 2>for me. So when I'm singing, especially you know, when

1:47:58.760 --> 1:48:02.000
<v Speaker 2>I have to do no nine shows in eleven days

1:48:02.040 --> 1:48:07.519
<v Speaker 2>like I did last month, there's no alcohol. I don't

1:48:07.520 --> 1:48:11.120
<v Speaker 2>eat ice cream. I basically don't talk after a show

1:48:11.240 --> 1:48:14.920
<v Speaker 2>till soundcheck the next day. It's really all about vocal maintenance.

1:48:15.120 --> 1:48:18.080
<v Speaker 2>So it's not very rock and roll, but it is

1:48:18.120 --> 1:48:18.720
<v Speaker 2>what it is.

1:48:19.880 --> 1:48:25.320
<v Speaker 1>Okay, you have this other business, you have your royalties

1:48:26.040 --> 1:48:30.200
<v Speaker 1>traveling as hell. What's keeping you on the road.

1:48:31.680 --> 1:48:36.720
<v Speaker 2>Those ninety minutes. Well, two things, those ninety minutes of

1:48:37.560 --> 1:48:43.840
<v Speaker 2>sharing songs and stories with audiences, and especially in the

1:48:43.880 --> 1:48:47.280
<v Speaker 2>last few weeks, you know, being able to play okay

1:48:47.479 --> 1:48:50.960
<v Speaker 2>for audiences and people are literally crying in their seats.

1:48:51.760 --> 1:48:55.200
<v Speaker 2>That tells you you're doing the right thing. The other

1:48:55.240 --> 1:49:00.880
<v Speaker 2>thing is the camaraderie with my bandmates. I love them all.

1:49:01.680 --> 1:49:05.200
<v Speaker 2>They they make me happy, They bring me joy. The

1:49:05.200 --> 1:49:08.920
<v Speaker 2>fun we have running a business can you know, bring

1:49:08.960 --> 1:49:13.960
<v Speaker 2>a lot of problems and headaches and hr and and

1:49:14.080 --> 1:49:18.200
<v Speaker 2>things that aren't a lot of fun. But being you know,

1:49:18.320 --> 1:49:22.240
<v Speaker 2>being with my bandmates and perform with them every night

1:49:22.439 --> 1:49:26.080
<v Speaker 2>and singing for people. It was a gift, you know,

1:49:26.280 --> 1:49:28.840
<v Speaker 2>thirty years ago when I started, and it's it's a

1:49:28.840 --> 1:49:32.840
<v Speaker 2>gift every night. I had a show, the Closed Art

1:49:32.880 --> 1:49:36.200
<v Speaker 2>Tour at the Coach House last Friday night, and it

1:49:36.280 --> 1:49:38.840
<v Speaker 2>was a wild, crazy show, and I spent an hour

1:49:38.880 --> 1:49:43.559
<v Speaker 2>afterwards talking too folks who showed up, and and especially

1:49:43.600 --> 1:49:46.680
<v Speaker 2>after COVID, I think probably all of us who did

1:49:46.720 --> 1:49:50.680
<v Speaker 2>this do this for a living, have a unique and

1:49:50.720 --> 1:49:54.640
<v Speaker 2>new gratitude for for touring and playing, especially when we

1:49:54.680 --> 1:49:57.200
<v Speaker 2>didn't have it for a couple of years, so I'm

1:49:57.200 --> 1:49:57.880
<v Speaker 2>a blessed guy.

1:49:59.360 --> 1:50:02.160
<v Speaker 1>Needless just say, from the time Superman was a hit

1:50:02.720 --> 1:50:08.320
<v Speaker 1>to today, the business has completely changed. No song reaches everybody,

1:50:08.400 --> 1:50:12.160
<v Speaker 1>even though we read about Taylor Swift and aforementioned Drake

1:50:12.280 --> 1:50:16.240
<v Speaker 1>and Kendril Lamar. But in the back of your mind,

1:50:16.520 --> 1:50:19.759
<v Speaker 1>is there a dream? Yeah, I could write that one

1:50:19.800 --> 1:50:22.519
<v Speaker 1>song that everybody would hear again, and I still want

1:50:22.520 --> 1:50:25.240
<v Speaker 1>to do that. Or if you made peace, this is

1:50:25.240 --> 1:50:26.000
<v Speaker 1>what I'm doing.

1:50:29.040 --> 1:50:30.880
<v Speaker 2>If I told you I'd made peace, I'd be lying.

1:50:32.760 --> 1:50:35.240
<v Speaker 2>We all want to have that song. We all want

1:50:35.280 --> 1:50:37.360
<v Speaker 2>to have that song that the world's singing with us.

1:50:38.040 --> 1:50:42.120
<v Speaker 2>And I always believe my best song is yet to come.

1:50:43.040 --> 1:50:45.200
<v Speaker 2>We all have an ego inside of us, and that's

1:50:45.200 --> 1:50:47.400
<v Speaker 2>why it's so hard when you've had a taste of

1:50:47.439 --> 1:50:53.120
<v Speaker 2>success to face the reality when things aren't the same.

1:50:53.640 --> 1:50:56.920
<v Speaker 2>At the same time, I'm so incredibly grateful to have

1:50:56.920 --> 1:50:59.200
<v Speaker 2>had this career. It was such a fluke. The stars

1:50:59.240 --> 1:51:01.439
<v Speaker 2>had to align from me. When I hear a song

1:51:01.479 --> 1:51:04.360
<v Speaker 2>of mine at home depot, I still can't believe it.

1:51:04.720 --> 1:51:07.280
<v Speaker 2>But yeah, yeah, I think we all, we all would

1:51:07.320 --> 1:51:09.880
<v Speaker 2>like to have that song. And you know what, in

1:51:09.920 --> 1:51:15.519
<v Speaker 2>some ways, Okay is a song like that, because you know,

1:51:15.720 --> 1:51:18.360
<v Speaker 2>the whole world's not singing it, but a lot of

1:51:18.439 --> 1:51:21.360
<v Speaker 2>the world's hearing it, and it's making some people really

1:51:21.400 --> 1:51:23.680
<v Speaker 2>happy and making some people really angry. And at the

1:51:23.760 --> 1:51:25.680
<v Speaker 2>end of the day, you know, isn't that what rock

1:51:25.720 --> 1:51:26.960
<v Speaker 2>and roll is all about?

1:51:27.680 --> 1:51:31.760
<v Speaker 1>Absolutely, And you're making an impact in a world, in

1:51:31.800 --> 1:51:35.960
<v Speaker 1>an era where everybody's just about the benjamins, and it's

1:51:36.120 --> 1:51:39.680
<v Speaker 1>very inspiring. So, in any event, John, I want to

1:51:39.720 --> 1:51:43.280
<v Speaker 1>thank you so much for taking time with my audience.

1:51:43.360 --> 1:51:46.080
<v Speaker 1>The other thing is I want to take you up

1:51:46.120 --> 1:51:48.599
<v Speaker 1>on your offer to go see how a shopping card

1:51:48.760 --> 1:51:51.479
<v Speaker 1>is built. I literally thin that would be a very

1:51:51.560 --> 1:51:57.040
<v Speaker 1>interesting trip. But in any event, thanks again for doing this.

1:51:57.920 --> 1:52:00.439
<v Speaker 2>Well, we'll take you to lunch at Mayo's, our favorite

1:52:00.479 --> 1:52:04.240
<v Speaker 2>Mexican restaurant. We'll settle we're certainly set it up this summer.

1:52:04.280 --> 1:52:06.439
<v Speaker 2>I look forward to to showing you how to make

1:52:06.479 --> 1:52:10.160
<v Speaker 2>a shopping cart. And again, thank you for you know,

1:52:10.760 --> 1:52:14.800
<v Speaker 2>everything you've done for our business and moral clarity as well.

1:52:15.560 --> 1:52:17.720
<v Speaker 2>You're an icon and you're a hero and your own

1:52:17.800 --> 1:52:19.120
<v Speaker 2>right and it's an honor to be with you.

1:52:20.720 --> 1:52:24.880
<v Speaker 1>Wow, can't say anything to that, So till next time.

1:52:25.360 --> 1:52:26.839
<v Speaker 1>This is Bob left sets