WEBVTT - Moby

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<v Speaker 1>Welcome, Welcome, Welcome to the Bob Left Sets podcast, the

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<v Speaker 1>first live podcast ever here at the USC Festival of Books.

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<v Speaker 1>It's April twenty one, day before my birthday. You start

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<v Speaker 1>day again, and uh my special guest today is Moby

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<v Speaker 1>and I thank you all for being here because we

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<v Speaker 1>had a hard time getting here. We did not connect,

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<v Speaker 1>we went to diff It was like our own little

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<v Speaker 1>spinal tap moment. So I would we miss if I

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<v Speaker 1>didn't ask you, Moby that it being April twenty one,

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<v Speaker 1>the day after a VICI passed away, do you have

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<v Speaker 1>any thoughts about a VICI? Uh? Boy, oh boy. By

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<v Speaker 1>the way, first of all, if tomorrow is your birthday,

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<v Speaker 1>all I can say is like the thirties can be

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<v Speaker 1>a challenging decade, but there's there's a lot of room

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<v Speaker 1>for growth. Well. I don't want to reveal how old

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<v Speaker 1>I am as but you can look it up online.

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<v Speaker 1>Thirty was bad. I thirty was no big deal. Forty

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<v Speaker 1>was bad, Fifty was no big deal. You're you're fifty

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<v Speaker 1>point sixty? Really fucked me up. I'm still funning, okay.

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<v Speaker 1>Um So a VICHI, Well, I guess it's speaking of

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<v Speaker 1>getting older or not getting older it's just, I mean,

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<v Speaker 1>there's so much to say about that. When someone dies

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<v Speaker 1>so young, it's just I mean, I'm stating the obvious.

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<v Speaker 1>But it's tragic, it's heartbreaking, it's unnecessary. It's just like

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<v Speaker 1>the fact that death is the one unavoidable fact of

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<v Speaker 1>our existence. Why hurry it along? You know? Like I

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<v Speaker 1>remember when I was a depressed teenager listening to joy

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<v Speaker 1>Division and wanting to throw myself off a bridge. I

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<v Speaker 1>thought to myself, I was like, you know, I'm gonna

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<v Speaker 1>die eventually. Why not just stick around and see what happens?

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<v Speaker 1>You know? Wow, But you have been part of this

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<v Speaker 1>world for decades to what degreed you believe the lifestyle

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<v Speaker 1>of DJs would contribute to their demise? Uh? I mean,

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<v Speaker 1>certainly there's very little about being a traveling professional DJ

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<v Speaker 1>that's healthy. You know, even if you're sober and doing it,

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<v Speaker 1>it's still pretty shitty, you know, like meaning like you're

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<v Speaker 1>an airport, you're eating garbage food in airports. You stay

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<v Speaker 1>in hotels, and even like the nicest hotel is still

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<v Speaker 1>an artificial environment with recycled air. And especially like young kids,

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<v Speaker 1>and you know that you're old when you start referring

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<v Speaker 1>to the youth as being something you're not. You know.

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<v Speaker 1>I remember hearing Obama say like young people, and I

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<v Speaker 1>was like, oh does that mean, like but but he's young,

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<v Speaker 1>so okay. So so even without drugs and alcohol and whatnot,

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<v Speaker 1>touring is unhealthy, you know, like it's very as you

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<v Speaker 1>know from a lifetime of being around on this, Like

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<v Speaker 1>you look at anyone who's been touring for a while

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<v Speaker 1>and they start to look like the crypt keeper Um

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<v Speaker 1>or Gollum in my case. And but then you add

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<v Speaker 1>in all the free alcohol and the drugs that are

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<v Speaker 1>just thrown at you, like I've been sobered out for

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<v Speaker 1>about ten years. But pre that, thanks um, but pre that.

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<v Speaker 1>I mean, like if if you're on tour and you're

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<v Speaker 1>playing a concert, you know, you play your concert, you

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<v Speaker 1>get on the bus and you leave, and so you

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<v Speaker 1>can be degenerate, but not that degenerate. Whereas the world

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<v Speaker 1>of celebrity DJs, they have their own planes. They fly

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<v Speaker 1>to Abisa, they fly to Las Vegas, they fly wherever.

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<v Speaker 1>They stay in huge palatial presidential suites. They do their

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<v Speaker 1>deejaying and then afterwards endless partying, which is great but

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<v Speaker 1>so destructive and so corrosive. So okay in your a

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<v Speaker 1>particular case, what caused you to get sober? Uh? So?

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<v Speaker 1>In nine two, do you remember the been Big Audio Dynamite.

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<v Speaker 1>So I was opening up for Big Audio Dynamites Switter

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<v Speaker 1>group from the Clash, Yeah, Mick Jones and Don Let's

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<v Speaker 1>I think um. So I was opening up for Big

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<v Speaker 1>Audio Dynamite UM at Roseland and New York City, and

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<v Speaker 1>we had dinner beforehand at a vegan restaurant called zen Palette,

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<v Speaker 1>and I ate a purple Japanese egg plant and it

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<v Speaker 1>disagreed with me. To this day, I've never eaten another

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<v Speaker 1>purple Japanese egg plant because I had a little upset

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<v Speaker 1>stomach as opposed to drinking, where I had thousands and

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<v Speaker 1>thousands of soul destroying, debilitating hangovers. But I kept doing it,

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<v Speaker 1>and I think I realized that indicated that I had

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<v Speaker 1>a problem. You know, when you're hungover for the five

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<v Speaker 1>thousandth time, you're like, oh, why do I keep doing this?

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<v Speaker 1>When it's like it's just this I don't know, diminishing returns.

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<v Speaker 1>So was he just one day you woke up and

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<v Speaker 1>said this is it? It was? I tried getting sober

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<v Speaker 1>multiple times and then this with the programmer by yourself.

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<v Speaker 1>Eventually it was just a UM, I mean it works

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<v Speaker 1>for me, if other people get sober without a God

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<v Speaker 1>bless there's no right way to do it. Um. But

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<v Speaker 1>it was October seventeenth, two thousand and eight. I had

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<v Speaker 1>played a fundraiser for Kristen Gillibrand, Um, she was running

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<v Speaker 1>to take Hillary Clinton's seat, and just had just a

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<v Speaker 1>stupid night not with her. I'm not trying to throw Kristin.

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<v Speaker 1>Jillibrand was like, we weren't you know, we weren't up

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<v Speaker 1>at four o'clock in the morning doing cocaine and talking

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<v Speaker 1>about how we should start a band. Yeah, that would

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<v Speaker 1>be now. She left early on good for her. And

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<v Speaker 1>then I found myself at like four o'clock in the

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<v Speaker 1>morning at some dive bar and Hudson, New York, standing

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<v Speaker 1>on stage asking if anyone there could sell me drugs,

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<v Speaker 1>and then buying drugs and doing them by myself, and

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<v Speaker 1>then at nine o'clock in the morning getting on amtrack

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<v Speaker 1>and I hadn't slept, and I felt like death had

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<v Speaker 1>like put me in a bag and thrown me down

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<v Speaker 1>a flight of concrete stairs, like I just destroyed. And

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<v Speaker 1>I thought you know this isn't getting better, and then

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<v Speaker 1>you have that decision to do immediately go with a yeah.

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<v Speaker 1>I went to an a meeting and just sat there,

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<v Speaker 1>started crying and said, I'm Moby, I'm an alcoholic. And

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<v Speaker 1>that was day one. And what did you learn in

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<v Speaker 1>the I used to drink and I stopped drinking for

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<v Speaker 1>a cornucopy of reasons, and for like the first thirty

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<v Speaker 1>days was a lifestyle change, like the things places I

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<v Speaker 1>would normally go, I will go. And then it was

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<v Speaker 1>earlier when a lot of people were not sober. It

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<v Speaker 1>was really quite a head speaking experience, irrelevant of not

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<v Speaker 1>waking up over well. Especially I lived in Lower Manhattan

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<v Speaker 1>and so in New York. For anyone who's spent time

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<v Speaker 1>in New York, you know that it's paradise for degenerates

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<v Speaker 1>like it and something you can afford to live in Manhattan.

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<v Speaker 1>But like the ethos of New York is just abject

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<v Speaker 1>debauchery and degeneracy. It doesn't matter who you are, like

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<v Speaker 1>where you are on the socio economic spectrum, Like if

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<v Speaker 1>you're not drinking and doing drugs in New York, you're

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<v Speaker 1>missing out on why you should be in New York.

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<v Speaker 1>Um so yes, So suddenly I was sober, living in

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<v Speaker 1>the East Village and having my recording studio on the

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<v Speaker 1>Lower East Side. So every day I would like walk

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<v Speaker 1>home from work past all the bars where I used

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<v Speaker 1>to get drunk, to go eat cereal and watch the

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<v Speaker 1>Daily Show, and which was good. I wasn't hungover, but

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<v Speaker 1>I was missing out on everything. And to this day,

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<v Speaker 1>I still don't know how I stuck with it. You

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<v Speaker 1>know why on one of those walk homes, I didn't

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<v Speaker 1>just like go into a dive bar, get drunk and

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<v Speaker 1>try to convince some like, oh pair to go home

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<v Speaker 1>with me. Let's go back to the beginning. You grew

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<v Speaker 1>up in dry In, Connecticut, not far from where I

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<v Speaker 1>grew up in Fearfield, Connecticut. Darien is a very upscale

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<v Speaker 1>room community. Most people work in Manhattan. However, there are

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<v Speaker 1>other people of not of that economic caliber. So what

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<v Speaker 1>was your experience growing up in day? So I was

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<v Speaker 1>born on a street in Harlem, and then my dad

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<v Speaker 1>died when I was two, and my mom happened to

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<v Speaker 1>know what. He died of alcoholism. He drove into a wall,

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<v Speaker 1>and so clearly it's we drove in a wall metaphorically

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<v Speaker 1>or literally literally, I mean, I guess it worked on

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<v Speaker 1>a metaphoric level, like no, he literally drove into a

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<v Speaker 1>wall on a Jersey turnpike at a hundred miles an hour. Yeah,

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<v Speaker 1>pre airbags. So it didn't work out too well. Um,

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<v Speaker 1>And so my mom moved us back to dry Enne

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<v Speaker 1>where she had grown up. But we were poor, white trash.

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<v Speaker 1>We were on food stamps and on welfare. We lived,

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<v Speaker 1>and it was from dairy En. Did she come from

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<v Speaker 1>an upscale family? Her dad, my grandfather, worked on Wall Street,

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<v Speaker 1>And so she moved us back to Darien because the

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<v Speaker 1>schools were good, it was familiar, and she had family around.

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<v Speaker 1>So what was your experience like constant shame because you

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<v Speaker 1>were not one of the wealthy people. Yeah, because we were.

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<v Speaker 1>So my mom was a pot smoking hippie who dated

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<v Speaker 1>Hell's Angels and Darien is the land of like Lily

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<v Speaker 1>Pulitzer pants and golf country clubs and you know, like

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<v Speaker 1>my first serious girlfriend heard she came from the Rand family.

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<v Speaker 1>Sorry I don't, I'm I hope I'm not going to

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<v Speaker 1>get her in trouble, like, you know, the Rand Corporation,

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<v Speaker 1>Like that's her posse. Her family and her dad owned

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<v Speaker 1>a fleet of oil tankers. So that's my first serious girlfriend,

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<v Speaker 1>my second serious girlfriend. Her grandfather was Bill Hewlett, who

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<v Speaker 1>started Hewlett Packard. So it's like a level of wealth

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<v Speaker 1>that you can't imagine. And my mom and I were

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<v Speaker 1>on food stamps and welfare and I would come home

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<v Speaker 1>and she would be, you know, like smoking pot in

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<v Speaker 1>the kitchen with her Hell's Angel's boyfriend. And was there

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<v Speaker 1>music in the house constantly? And what music did you hear? Everything?

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<v Speaker 1>My mom had the most remarkable taste in books, which

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<v Speaker 1>is Germaine. As we're at the l a Time festival books.

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<v Speaker 1>That's what's called right yeah? Um? And so I mean

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<v Speaker 1>because she had been a literature major at Barnard, and

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<v Speaker 1>you graduated from Barnard, she eventually graduated from East Khan

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<v Speaker 1>and Dan Barry. Um, so she went back. It shows

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<v Speaker 1>a level of perseverance despite being a you know what,

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<v Speaker 1>Hell's Angel dating hippie. Yeah, when she was really aeradite

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<v Speaker 1>and academic. She just liked bad boys. Um. So. But

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<v Speaker 1>her book collection, I mean, like I grew up reading

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<v Speaker 1>Faulkner and Rambo and Dyukowski when I was twelve years old,

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<v Speaker 1>just because she didn't turn them on to you just

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<v Speaker 1>saw him on the shelf and you pulled them down.

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<v Speaker 1>I was talking about this earlier with a nice man

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<v Speaker 1>at PBS. I was like, when you're twelve years old

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<v Speaker 1>and your board in the middle of the summer and

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<v Speaker 1>there's nothing good on TV. You go to the bookshelf

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<v Speaker 1>and you see as a as I lay dying and

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<v Speaker 1>you're like, that sounds cool, or you know, like a

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<v Speaker 1>Season in Hell by Rambo and you're like, oh, I

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<v Speaker 1>want to read that, or you know Bukowski, you know,

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<v Speaker 1>like every book he wrote has an amazing title. So

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<v Speaker 1>I just started reading compulsively. And her record collection was

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<v Speaker 1>everything from I don't know, divor Jack to Coltrane, Like

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<v Speaker 1>she still maintains that I was conceived. Well, my mom

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<v Speaker 1>and my dad were listening to Love Supreme now that

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<v Speaker 1>whether it's two or not, who cares? So yeah, So

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<v Speaker 1>I mean Crossy Seals and Nash and Young to Stravinsky

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<v Speaker 1>to Bruce Springsteen too. She loved like a lot of

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<v Speaker 1>late sixties folk music like It's a Wonderful Day or

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<v Speaker 1>It's a Beautiful Day, Beautiful's a Beautiful Day and Donovan

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<v Speaker 1>and Jefferson Airplane and Nick Drake. So it was like she,

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<v Speaker 1>I grew up with an amazing record collection, just so eclectic.

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<v Speaker 1>And what point did you start to play music? I

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<v Speaker 1>started studying music when I was around nine. What was

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<v Speaker 1>the impetus for that? That I loved music and I

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<v Speaker 1>just wanted to do anything I could to be around it?

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<v Speaker 1>And was this private lessons? Were in school or by yourself? Well,

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<v Speaker 1>my mom played piano and she dated a bunch of

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<v Speaker 1>itinerant musicians, um one of whom was a pedal steel player.

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<v Speaker 1>And I tried to learn pedal steel at ten and

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<v Speaker 1>I couldn't like it was just too like as your

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<v Speaker 1>feet are doing things. So one of her boyfriends had

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<v Speaker 1>left a guitar behind, and so I started playing guitar.

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<v Speaker 1>And she had a friend who taught guitar lessons. And

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<v Speaker 1>he was the most idiosyncratic music teacher because he played

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<v Speaker 1>in a metal band. You know. He was one of

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<v Speaker 1>those like Deely Deally dud thinks Chris Rasola like a

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<v Speaker 1>phenomenal virtual so guitarist. But he loved music theory, bok

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<v Speaker 1>and jazz fusion. So he instilled in me like we

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<v Speaker 1>would study scales and deconstruct Bach cantatas and then learn

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<v Speaker 1>how to play purple, Hayes, This is all on the guitar.

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<v Speaker 1>On the guitar, that's not easy to do on the guitar. Yeah,

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<v Speaker 1>and so you learned how to we music, and you

0:13:00.600 --> 0:13:02.960
<v Speaker 1>still read music to this day about as well as

0:13:03.000 --> 0:13:06.400
<v Speaker 1>I can read French, meaning like I can figure it

0:13:06.400 --> 0:13:09.120
<v Speaker 1>out if you hold a gun to my head. But

0:13:09.280 --> 0:13:12.679
<v Speaker 1>like like friends of mine who can cite read I'm

0:13:12.720 --> 0:13:16.280
<v Speaker 1>sure you know those people, like like you put rockman

0:13:16.400 --> 0:13:17.640
<v Speaker 1>and Off in front of them, put them to the

0:13:17.640 --> 0:13:20.559
<v Speaker 1>piano and they start playing it. Like, there's absolutely no

0:13:20.559 --> 0:13:22.080
<v Speaker 1>way I could even begin to do that. It would

0:13:22.120 --> 0:13:25.200
<v Speaker 1>take me ten minutes to get like the first stanza. Well,

0:13:25.200 --> 0:13:28.000
<v Speaker 1>in my family, we started with piano lessons, and then

0:13:28.000 --> 0:13:30.040
<v Speaker 1>of course the folk are and the Beatles came along

0:13:30.040 --> 0:13:32.680
<v Speaker 1>and we picked up guitar. But the issue was always practicing.

0:13:33.040 --> 0:13:40.679
<v Speaker 1>Did you practice? I practice constantly because I was untroubled

0:13:41.559 --> 0:13:43.959
<v Speaker 1>by much having much of a social life or a

0:13:44.040 --> 0:13:47.520
<v Speaker 1>dating life. Did you have friends. I had a few friends,

0:13:49.240 --> 0:13:51.520
<v Speaker 1>but not too many, so I had a lot of

0:13:51.559 --> 0:13:54.200
<v Speaker 1>free time growing up, you know, especially summertimes, like you

0:13:54.240 --> 0:13:56.559
<v Speaker 1>know what's like in Fairfield County, Like all the rich

0:13:56.640 --> 0:13:59.160
<v Speaker 1>kids go to country clubs, they go to Switzerland, they

0:13:59.200 --> 0:14:03.280
<v Speaker 1>go to islands like Fisher's Island and Martha's Vineyard and

0:14:03.360 --> 0:14:06.440
<v Speaker 1>Nantuckett and I stay home and watch TV, listen to records,

0:14:06.440 --> 0:14:09.880
<v Speaker 1>play guitar, drive my bike to Johnny's Records to look

0:14:09.920 --> 0:14:12.320
<v Speaker 1>at records that someday I might be able to afford.

0:14:12.960 --> 0:14:18.080
<v Speaker 1>So you're in school, your mother is highly educated. What

0:14:18.240 --> 0:14:20.120
<v Speaker 1>kind of track are you on? Are you thinking I'm

0:14:20.120 --> 0:14:22.560
<v Speaker 1>going to go to college? I can't wait to drop out?

0:14:22.680 --> 0:14:25.040
<v Speaker 1>What's going through your head? Well? When I went, I

0:14:25.080 --> 0:14:28.120
<v Speaker 1>went to Yukon Stores and Stanford. I didn't know that

0:14:28.200 --> 0:14:30.480
<v Speaker 1>I didn't graduate. And did you go for I went

0:14:30.520 --> 0:14:33.280
<v Speaker 1>to Yukon Stores for a year, went to Yukon Stamford.

0:14:33.400 --> 0:14:39.200
<v Speaker 1>This is means a lot to us um and I

0:14:39.240 --> 0:14:41.800
<v Speaker 1>went to study purchase for a little while. Let's let's

0:14:41.840 --> 0:14:45.360
<v Speaker 1>go back. You're at Yukon Stores. Yeah, isn't that like

0:14:45.400 --> 0:14:47.640
<v Speaker 1>a square peg in a round hole? Obviously that's why

0:14:47.640 --> 0:14:50.000
<v Speaker 1>I didn't stay. I mean, also I was having I

0:14:50.040 --> 0:14:52.480
<v Speaker 1>was having terrible panic attacks and I had to leave anyway.

0:14:52.520 --> 0:14:57.760
<v Speaker 1>But like Yukon Stores is known for basketball and agriculture,

0:14:58.440 --> 0:15:00.800
<v Speaker 1>and it's it's hard to say about but it's literally

0:15:00.840 --> 0:15:04.120
<v Speaker 1>in the middle of nowhere, Connecticut. Yeah, it's sort of

0:15:04.160 --> 0:15:08.280
<v Speaker 1>like the let's by way of comparison, like the outskirts

0:15:08.280 --> 0:15:13.320
<v Speaker 1>of Fresno right now. Um So I was there and

0:15:13.680 --> 0:15:15.840
<v Speaker 1>this was the early eighties, and all I wanted was

0:15:15.880 --> 0:15:17.680
<v Speaker 1>to be in New York or be in London or

0:15:17.720 --> 0:15:19.280
<v Speaker 1>be in Los Angeles and be a part of a

0:15:19.360 --> 0:15:22.160
<v Speaker 1>music scene. So I would listen to music and I

0:15:22.160 --> 0:15:26.760
<v Speaker 1>would go to classes. But being in this small farm town,

0:15:28.400 --> 0:15:30.800
<v Speaker 1>it was very frustrating, and then you ended up going

0:15:30.920 --> 0:15:33.360
<v Speaker 1>to purchase to purchase. I was a philosophy major the

0:15:33.400 --> 0:15:36.880
<v Speaker 1>whole time, so if it weren't for music, I sort

0:15:36.920 --> 0:15:39.960
<v Speaker 1>of thought that my life plan was going to be

0:15:40.360 --> 0:15:44.280
<v Speaker 1>teaching philosophy at some community college somewhere. So you went

0:15:44.360 --> 0:15:46.960
<v Speaker 1>to like three or four colleges. If you were to

0:15:47.000 --> 0:15:49.160
<v Speaker 1>go back today, like in the Bruce Springsteen record where

0:15:49.160 --> 0:15:50.880
<v Speaker 1>his mother says, never would you like to go back,

0:15:51.160 --> 0:15:53.080
<v Speaker 1>how much would you have to do to graduate? I'll

0:15:53.120 --> 0:15:56.560
<v Speaker 1>probably take four years of classes. Like I don't know,

0:15:56.760 --> 0:15:58.720
<v Speaker 1>I mean, I wouldn't even know, like because this was

0:15:59.120 --> 0:16:01.680
<v Speaker 1>this was back in the forties, so like you know,

0:16:01.720 --> 0:16:04.680
<v Speaker 1>they kept records on parchment exactly. That's one of my

0:16:04.680 --> 0:16:06.520
<v Speaker 1>bad dreams. You gonna wake up one day and they'll say,

0:16:06.600 --> 0:16:08.440
<v Speaker 1>we have no record if you graduate from college. You

0:16:08.480 --> 0:16:13.600
<v Speaker 1>did go, but um, so are you going consistently from

0:16:13.600 --> 0:16:16.680
<v Speaker 1>one college to another? I was like twenty Yukon stores

0:16:17.360 --> 0:16:21.200
<v Speaker 1>dropped out about a year of like drinking and learning

0:16:21.200 --> 0:16:24.760
<v Speaker 1>how to DJ, went back to Yukon, Stamford dropped out,

0:16:24.800 --> 0:16:27.280
<v Speaker 1>went back to Sunny Purchase, and then at that point

0:16:27.800 --> 0:16:30.440
<v Speaker 1>I started to have more of a job as a DJ.

0:16:30.600 --> 0:16:32.800
<v Speaker 1>So I didn't let's say, so, if we're in the

0:16:32.800 --> 0:16:36.880
<v Speaker 1>early eighties, Okay, what does it look like being a DJ?

0:16:37.080 --> 0:16:43.120
<v Speaker 1>Then well, uh, it was not very glamorous. Remember port Chester,

0:16:43.200 --> 0:16:46.720
<v Speaker 1>New York, of course, holl of the capital of the

0:16:46.760 --> 0:16:49.600
<v Speaker 1>Capital Theater, which is now back up in the running.

0:16:50.480 --> 0:16:53.760
<v Speaker 1>Everyone's right over the border from Connecticut, and it had

0:16:53.840 --> 0:16:56.440
<v Speaker 1>a very special place I'm assuming when you were growing

0:16:56.520 --> 0:16:59.240
<v Speaker 1>up as well, because the drinking age in Connecticut was

0:16:59.240 --> 0:17:02.440
<v Speaker 1>twenty one and the drinking age in New York was eighteen,

0:17:02.880 --> 0:17:05.760
<v Speaker 1>and port Chester was the first town over the border,

0:17:05.840 --> 0:17:09.200
<v Speaker 1>so it was filled with kids from Connecticut like crashing

0:17:09.200 --> 0:17:12.920
<v Speaker 1>their cars and getting STDs. Um so I got a

0:17:13.040 --> 0:17:16.320
<v Speaker 1>job djaying at a bar right by the Port Chester

0:17:16.400 --> 0:17:20.000
<v Speaker 1>train station on Monday nights for twenty five dollars a night,

0:17:20.240 --> 0:17:22.399
<v Speaker 1>so I was working for six hours. No one was

0:17:22.440 --> 0:17:24.760
<v Speaker 1>there except like a couple of like bottomed out methodone

0:17:24.760 --> 0:17:27.520
<v Speaker 1>addicts and what would you play? I didn't even have

0:17:27.560 --> 0:17:29.600
<v Speaker 1>that many records, so I'd play the same things over

0:17:29.640 --> 0:17:33.560
<v Speaker 1>and over again. So it was the Clash and Joy

0:17:33.640 --> 0:17:37.200
<v Speaker 1>Division and some early New Order records and Hank Williams

0:17:37.200 --> 0:17:42.600
<v Speaker 1>and Johnny Cash basically like whatever records I had access to. Okay,

0:17:42.640 --> 0:17:45.520
<v Speaker 1>so you did that, You went back to college, and

0:17:45.520 --> 0:17:47.400
<v Speaker 1>you're at Sony Purchase. At one point you say, I'm

0:17:47.400 --> 0:17:51.240
<v Speaker 1>done with school. I just because d jaying. I started djaying.

0:17:51.640 --> 0:17:53.880
<v Speaker 1>Time passed and I got a job djaying in New York,

0:17:54.440 --> 0:17:57.080
<v Speaker 1>and I realized, oh, a little bit slower. How did

0:17:57.080 --> 0:18:00.840
<v Speaker 1>you get a job dj in the city. Well, because

0:18:02.400 --> 0:18:07.080
<v Speaker 1>you know Saturday Night Fever, of course, And Saturday Fever

0:18:07.520 --> 0:18:10.080
<v Speaker 1>is a fascinating movie if you haven't seen it recently.

0:18:10.480 --> 0:18:14.399
<v Speaker 1>It's unrelenting, lee dark like. It's how that became like

0:18:14.440 --> 0:18:16.800
<v Speaker 1>a pop culture phenomena. I have no idea because it's

0:18:16.880 --> 0:18:20.159
<v Speaker 1>super bleak things. That was based on an article by

0:18:20.240 --> 0:18:24.359
<v Speaker 1>Nick Cone in New York magazine and he was on Deadline.

0:18:24.400 --> 0:18:27.640
<v Speaker 1>He completely made it up. It wasn't true whatsoever. Although

0:18:27.680 --> 0:18:30.560
<v Speaker 1>a great article in a great movie, and but it's about,

0:18:30.880 --> 0:18:32.960
<v Speaker 1>you know, these kids in Brooklyn and Queens who just

0:18:33.119 --> 0:18:36.600
<v Speaker 1>longed to get to Manhattan. But that existed not just

0:18:36.640 --> 0:18:39.280
<v Speaker 1>in Brooklyn, Queens, but in Long Island, Connecticut, New Jersey,

0:18:39.320 --> 0:18:42.480
<v Speaker 1>upstate New York. Like if you lived within the sort

0:18:42.520 --> 0:18:45.760
<v Speaker 1>of periphery of Manhattan, all you wanted to do was

0:18:46.200 --> 0:18:49.080
<v Speaker 1>go to Manhattan to hang out, to work, to live.

0:18:49.200 --> 0:18:52.480
<v Speaker 1>At least that was the case with me. So in

0:18:52.520 --> 0:18:55.320
<v Speaker 1>the late eighties, I started dropping off demo tapes at

0:18:55.320 --> 0:18:58.600
<v Speaker 1>different nightclubs in New York and rejected everywhere. And I

0:18:58.640 --> 0:19:01.040
<v Speaker 1>started giving demo tapes to ray EO stations like Kiss

0:19:01.040 --> 0:19:03.840
<v Speaker 1>and BLS same thing, I mean, like a skinny a

0:19:03.880 --> 0:19:09.119
<v Speaker 1>little bit slower. They would be others. People's material to

0:19:09.200 --> 0:19:12.840
<v Speaker 1>the radio was material that you had created. Both. I

0:19:12.840 --> 0:19:14.760
<v Speaker 1>would drop off these cassettes that had like a hip

0:19:14.840 --> 0:19:17.480
<v Speaker 1>hop mix, a house music mix, and my own music.

0:19:19.720 --> 0:19:22.199
<v Speaker 1>And I also sent it to tons of labels and

0:19:22.240 --> 0:19:27.480
<v Speaker 1>I got one response from Hollywood Records, the Peter Paterno

0:19:27.840 --> 0:19:30.960
<v Speaker 1>and this is and I got a letter from Hollywood

0:19:30.960 --> 0:19:35.240
<v Speaker 1>Records so clearly, and it said we do not accept

0:19:35.280 --> 0:19:44.000
<v Speaker 1>unsolicited Yeah, we'll take a quick break and come back

0:19:44.040 --> 0:19:47.560
<v Speaker 1>with more of my conversation with Moby, recorded at usc

0:19:47.920 --> 0:19:50.399
<v Speaker 1>as part of the l A Times Festival of Books.

0:19:53.000 --> 0:19:56.320
<v Speaker 1>This week we're talking to DJ Moby. Last week we

0:19:56.440 --> 0:20:00.119
<v Speaker 1>had Chev Gordon supermnch For that, we had job Is

0:20:00.240 --> 0:20:03.520
<v Speaker 1>Martin and Shirley Manson and so many other people. You

0:20:03.520 --> 0:20:06.600
<v Speaker 1>gotta go back into the archives. You haven't heard these things,

0:20:06.600 --> 0:20:09.600
<v Speaker 1>so download from tune in the Apple podcast or your

0:20:09.640 --> 0:20:14.119
<v Speaker 1>podcast player of choice. Okay, let's get back to my

0:20:14.200 --> 0:20:19.720
<v Speaker 1>conversation with Moby in front of a live studio audience. Okay,

0:20:19.800 --> 0:20:22.280
<v Speaker 1>but a little bit slower. When did you start to

0:20:22.400 --> 0:20:25.359
<v Speaker 1>record your own music? In early eighties? I stole a

0:20:25.400 --> 0:20:28.080
<v Speaker 1>four track from the A V Department at my high school.

0:20:28.280 --> 0:20:30.840
<v Speaker 1>I gave it back, so okay. I bought the real

0:20:31.359 --> 0:20:34.439
<v Speaker 1>like a like a Fostex, very very like school had

0:20:34.440 --> 0:20:37.800
<v Speaker 1>a FoST that's amazing, task camera Fostex. Well they were

0:20:37.840 --> 0:20:40.600
<v Speaker 1>two fostests. Was first intend to task cam, but people

0:20:40.600 --> 0:20:42.439
<v Speaker 1>were buying them. They certainly didn't. I did not go

0:20:42.520 --> 0:20:43.800
<v Speaker 1>to a low rent school, but we didn't have that

0:20:43.840 --> 0:20:46.359
<v Speaker 1>kind of equipment. Yeah, somehow. Well. I was also in

0:20:46.400 --> 0:20:49.800
<v Speaker 1>the like when like if you watch family Guy, the

0:20:49.840 --> 0:20:52.639
<v Speaker 1>nerdiest guy, it always has a hat that says A V.

0:20:53.600 --> 0:20:55.840
<v Speaker 1>We were. I was in the A V Department, you know,

0:20:55.880 --> 0:20:58.800
<v Speaker 1>like wheeling the film strip, you know, the overhead projector

0:20:58.880 --> 0:21:00.480
<v Speaker 1>to classes and setting it up up and make sure

0:21:00.520 --> 0:21:04.439
<v Speaker 1>it's clean. And I would eat my lunch in a

0:21:04.560 --> 0:21:07.760
<v Speaker 1>closet in the A V department, not get like, I

0:21:07.800 --> 0:21:10.639
<v Speaker 1>put joy Division on my walkman and eat my peanut

0:21:10.640 --> 0:21:12.600
<v Speaker 1>butter and jelly sandwich in a closet And it was great.

0:21:13.119 --> 0:21:17.800
<v Speaker 1>But where were we? The fas? But for those people

0:21:17.840 --> 0:21:19.800
<v Speaker 1>don't know, it was a real breakthrough because there are

0:21:19.840 --> 0:21:21.679
<v Speaker 1>four trucks on a cassette and the fast Tex was

0:21:21.680 --> 0:21:24.000
<v Speaker 1>the first machine that allowed you to seek up and

0:21:24.040 --> 0:21:26.400
<v Speaker 1>record on all four trucks, which was a huge break

0:21:26.680 --> 0:21:31.320
<v Speaker 1>It was egalitary, relatively egalitarian multitrack technology. And remember the

0:21:31.359 --> 0:21:33.680
<v Speaker 1>first time I turned it on and used it. Because

0:21:33.680 --> 0:21:36.240
<v Speaker 1>I had a matel drum machine. Mattel made a drum

0:21:36.240 --> 0:21:39.560
<v Speaker 1>machine called the Simsonics. I forgot that and so I

0:21:39.560 --> 0:21:43.359
<v Speaker 1>had my Mattel Simsonics drum machine. My borrowed face text

0:21:43.800 --> 0:21:46.800
<v Speaker 1>a guitar and a microphone that I also sort of

0:21:46.800 --> 0:21:49.560
<v Speaker 1>borrowed from the A V. Department, and I was able

0:21:49.600 --> 0:21:53.919
<v Speaker 1>to make music on my own and it was, you know,

0:21:54.000 --> 0:21:57.080
<v Speaker 1>like the scales fell from my eyes and suddenly, you know,

0:21:57.200 --> 0:21:58.840
<v Speaker 1>I was like I could I don't need to wait

0:21:58.840 --> 0:22:01.520
<v Speaker 1>around for other musician, Like, can just do this by myself?

0:22:02.119 --> 0:22:05.440
<v Speaker 1>So yes, of the late eighties. Okay, So when you're

0:22:05.440 --> 0:22:08.719
<v Speaker 1>making music at first, what kind of music are you making? Uh,

0:22:10.640 --> 0:22:14.159
<v Speaker 1>A little bit of everything, sort of inspired by some

0:22:14.280 --> 0:22:17.159
<v Speaker 1>of the singer songwriter like Roddy Frame from ast at Camera,

0:22:17.880 --> 0:22:22.000
<v Speaker 1>The Smith's The Cure, but also electronic music, you know,

0:22:22.040 --> 0:22:27.680
<v Speaker 1>inspired craftwork by craftwork. Um. The demo tape that I

0:22:27.680 --> 0:22:30.639
<v Speaker 1>got sent around they got rejected was actually my singer

0:22:30.680 --> 0:22:36.119
<v Speaker 1>songwriter stuff, so it wasn't retrospect. How good was no?

0:22:37.280 --> 0:22:39.760
<v Speaker 1>This is great, raving great back and forth in retrospect?

0:22:40.160 --> 0:22:44.760
<v Speaker 1>How good was that stuff? Oh? Totally mediocre? Because that's

0:22:44.760 --> 0:22:46.359
<v Speaker 1>one of the things people send you stuff Originally they

0:22:46.359 --> 0:22:47.960
<v Speaker 1>think it's so great, and if they have to make it,

0:22:47.960 --> 0:22:50.040
<v Speaker 1>they look back. Maybe I didn't deserve to make it

0:22:50.040 --> 0:22:53.639
<v Speaker 1>at that point. Well, then I had this sort of

0:22:53.720 --> 0:22:56.480
<v Speaker 1>like that, like the Robert Frost moment Two Paths Diverge

0:22:56.520 --> 0:23:00.240
<v Speaker 1>and the Wood And I was playing demos to my

0:23:00.320 --> 0:23:02.879
<v Speaker 1>girlfriend and a friend of hers, and I was playing

0:23:02.880 --> 0:23:06.480
<v Speaker 1>my very earnest singer songwriter music and they were like, yeah,

0:23:06.480 --> 0:23:08.399
<v Speaker 1>that's okay. And then I was like, oh, but I've

0:23:08.440 --> 0:23:11.639
<v Speaker 1>also started making electronic music. And I played it for

0:23:11.680 --> 0:23:14.480
<v Speaker 1>them and they stood up and started dancing wow. And

0:23:14.520 --> 0:23:16.960
<v Speaker 1>at that moment, I was like, the audience has spoken, Like,

0:23:17.200 --> 0:23:19.440
<v Speaker 1>I guess I'm not supposed to be the next Morrissey.

0:23:19.640 --> 0:23:22.680
<v Speaker 1>I'm supposed to make electronic music. Okay. While you're making music,

0:23:22.720 --> 0:23:26.159
<v Speaker 1>you talk about soliciting gigs in New York City, Yeah,

0:23:26.240 --> 0:23:29.760
<v Speaker 1>so tell us more about that. So it's constantly sneaking

0:23:29.800 --> 0:23:31.600
<v Speaker 1>into New York on Metro North, like hiding in the

0:23:31.600 --> 0:23:34.639
<v Speaker 1>bathroom on Metro North with a bag full of demo tapes,

0:23:35.359 --> 0:23:40.879
<v Speaker 1>jumping turnstiles, getting cheap food at Dojo remember Dojo um,

0:23:41.080 --> 0:23:46.880
<v Speaker 1>and bringing demo tapes everywhere, every record label, every radio station,

0:23:47.560 --> 0:23:50.399
<v Speaker 1>you know, waiting outside w n y U and the

0:23:50.480 --> 0:23:52.800
<v Speaker 1>hope that maybe someone who worked at w n y

0:23:52.880 --> 0:23:55.480
<v Speaker 1>U would like be willing to take a tape. And

0:23:55.520 --> 0:23:59.320
<v Speaker 1>I dropped off tapes at every nightclub, every bar. And

0:23:59.359 --> 0:24:02.639
<v Speaker 1>then there was this one club opening called Mars, and

0:24:02.680 --> 0:24:05.240
<v Speaker 1>it was on the West Side Highway in the Meatpacking District.

0:24:05.320 --> 0:24:07.879
<v Speaker 1>And this was back when the meatpacking district was the

0:24:07.920 --> 0:24:11.719
<v Speaker 1>meat packing District. Like they were like dead lamb carcasses

0:24:11.720 --> 0:24:17.680
<v Speaker 1>on the street and blood everywhere and prostitutes servicing all

0:24:17.720 --> 0:24:19.679
<v Speaker 1>sorts of people out in the open, like it was

0:24:20.920 --> 0:24:23.760
<v Speaker 1>really post apocalyptic and grim. In the middle of it

0:24:23.800 --> 0:24:26.440
<v Speaker 1>was this huge nightclub, Mars, and I went there to

0:24:26.520 --> 0:24:29.680
<v Speaker 1>drop off a demo tape and the HR person laughed

0:24:29.720 --> 0:24:33.360
<v Speaker 1>at me because they were taking applications for like bus boy, janitor,

0:24:34.080 --> 0:24:36.960
<v Speaker 1>bar back, and I dropped off a demo tape. But

0:24:37.040 --> 0:24:41.080
<v Speaker 1>the guy hiring DJs had never hired DJs before, and

0:24:41.119 --> 0:24:43.480
<v Speaker 1>he wondered why no one had dropped off demo tapes.

0:24:43.880 --> 0:24:46.320
<v Speaker 1>So I got my job solely because I was the

0:24:46.359 --> 0:24:48.879
<v Speaker 1>only person to drop off a demo tape. Do you

0:24:48.880 --> 0:24:52.320
<v Speaker 1>remember what year that was? And so you started to

0:24:52.320 --> 0:24:54.840
<v Speaker 1>work there, how frequent work, first once a week, and

0:24:54.920 --> 0:24:57.520
<v Speaker 1>twice a week and three times a week, and then

0:24:58.880 --> 0:25:01.760
<v Speaker 1>um finally move back to New York and got this

0:25:02.040 --> 0:25:05.840
<v Speaker 1>apartment on fourteen and third with four other people. Okay,

0:25:06.280 --> 0:25:08.480
<v Speaker 1>what kind of music are you playing when you're working

0:25:08.520 --> 0:25:12.399
<v Speaker 1>at bars um mainly house music and hip hop, but

0:25:12.520 --> 0:25:14.600
<v Speaker 1>also some dance, all reggae, which is really big at

0:25:14.600 --> 0:25:17.960
<v Speaker 1>the time. And occasionally my boss his name was Yuki

0:25:18.400 --> 0:25:23.880
<v Speaker 1>and he was Japanese and he was really interesting and

0:25:23.960 --> 0:25:26.600
<v Speaker 1>he would ask me if I could play certain genres

0:25:26.640 --> 0:25:29.520
<v Speaker 1>of music, and I would always just say yes, you know,

0:25:29.560 --> 0:25:32.320
<v Speaker 1>like so you remember one time in particular, he called

0:25:32.320 --> 0:25:35.280
<v Speaker 1>me up and said, oh, We're having a rare groove

0:25:35.400 --> 0:25:37.399
<v Speaker 1>party on the roof. Can you play rare groove? And

0:25:37.400 --> 0:25:39.720
<v Speaker 1>I was like, of course I can. And then I

0:25:39.800 --> 0:25:41.359
<v Speaker 1>hung up the phone and I started calling people. I

0:25:41.400 --> 0:25:45.760
<v Speaker 1>was like, what is rare groove? And so the three

0:25:45.800 --> 0:25:47.600
<v Speaker 1>other people you're living with, how did you find them

0:25:47.600 --> 0:25:50.000
<v Speaker 1>and find the apartment. One is a friend of mine

0:25:50.040 --> 0:25:53.400
<v Speaker 1>from Connecticut who was an artist named Damien loeb Uh.

0:25:53.960 --> 0:25:57.680
<v Speaker 1>Then he was dating a model named Ann And then

0:25:57.760 --> 0:26:01.240
<v Speaker 1>there's another DJ named Adrian came a very successful hip

0:26:01.280 --> 0:26:04.879
<v Speaker 1>hop DJ named Stretch Armstrong uh. And then my friend

0:26:04.960 --> 0:26:09.000
<v Speaker 1>Lee also it's just an artist from New York who

0:26:09.080 --> 0:26:11.600
<v Speaker 1>now owns an art gallery in Connecticut. Okay, so you're

0:26:11.600 --> 0:26:14.359
<v Speaker 1>working at Mars. Ultimately, many nights a week. Based on

0:26:14.400 --> 0:26:16.560
<v Speaker 1>the story you've just told, you're so obviously hustling your

0:26:16.560 --> 0:26:23.280
<v Speaker 1>demo tapes. Oh yeah. And then finally, this, finally, the

0:26:23.359 --> 0:26:27.560
<v Speaker 1>moment came. I dropped off demo tapes everywhere and I

0:26:27.600 --> 0:26:30.840
<v Speaker 1>was DJing at Mars and this guy named Jared Hoffman

0:26:31.000 --> 0:26:33.479
<v Speaker 1>came to the DJ booth and he asked me a question.

0:26:33.520 --> 0:26:35.520
<v Speaker 1>He said, well, do you make your own music? And

0:26:35.560 --> 0:26:38.120
<v Speaker 1>I said, as a matter of fact, I do. So

0:26:38.320 --> 0:26:40.360
<v Speaker 1>the next day I went to his apartment on fourteenth

0:26:40.400 --> 0:26:42.280
<v Speaker 1>and seven and I gave him a demo tape of

0:26:42.359 --> 0:26:45.200
<v Speaker 1>my own music, and he called me up and he said,

0:26:45.400 --> 0:26:48.400
<v Speaker 1>we would like to sign you to an artist contract

0:26:48.440 --> 0:26:53.040
<v Speaker 1>to our record label called Instinct Records. Put it in perspective,

0:26:53.800 --> 0:26:56.640
<v Speaker 1>at that time, they actually didn't have a name, they

0:26:56.640 --> 0:26:59.920
<v Speaker 1>didn't have an office, they'd never made records, they had

0:27:00.040 --> 0:27:02.679
<v Speaker 1>no employees. It was an idea that he and a

0:27:02.720 --> 0:27:05.560
<v Speaker 1>friend of his head. So so I was signed to

0:27:05.560 --> 0:27:08.560
<v Speaker 1>a record label that at the time wasn't how to

0:27:08.600 --> 0:27:12.159
<v Speaker 1>take you to figure that out. I kind of just

0:27:12.280 --> 0:27:15.440
<v Speaker 1>ignored that fact because someone had offered me a contract

0:27:16.200 --> 0:27:18.920
<v Speaker 1>like I and I never in my wild dreams thought

0:27:18.920 --> 0:27:21.720
<v Speaker 1>I would sign a recording contract, even if it wasn't

0:27:21.760 --> 0:27:25.200
<v Speaker 1>technically with a record label. Here for a second, when

0:27:25.240 --> 0:27:28.159
<v Speaker 1>you're djaying, are you d jaying under the name Moby?

0:27:28.480 --> 0:27:31.240
<v Speaker 1>You can call Moby since I was born my legal

0:27:31.320 --> 0:27:34.280
<v Speaker 1>name is Richard Melville Hall. So in school, you never rich,

0:27:34.320 --> 0:27:38.639
<v Speaker 1>You're never Rick, You're always Moby. Yeah, okay, So you

0:27:38.760 --> 0:27:41.359
<v Speaker 1>make this, you sign this record deal. They don't know

0:27:41.400 --> 0:27:44.160
<v Speaker 1>what they're doing. Do you actually make a record? Then

0:27:45.400 --> 0:27:48.240
<v Speaker 1>we take six months to make my first twelve inch

0:27:48.720 --> 0:27:53.359
<v Speaker 1>called Time's Up, oddly prescient for the Times Up movement

0:27:53.760 --> 0:27:58.240
<v Speaker 1>um because during this although I guess I can't in

0:27:58.280 --> 0:28:01.040
<v Speaker 1>any way late claim to it as assist endered heterosexual

0:28:01.080 --> 0:28:05.800
<v Speaker 1>white man, but nonetheless, uh. And that record did nothing.

0:28:06.080 --> 0:28:10.240
<v Speaker 1>I just disappeared. And then I made my second record

0:28:10.640 --> 0:28:13.760
<v Speaker 1>under my own name, which came out and sold about

0:28:13.760 --> 0:28:17.239
<v Speaker 1>a thousand copies. Which in high school I had been

0:28:17.240 --> 0:28:19.399
<v Speaker 1>in a punk rock band called the Vatican Commandos, and

0:28:19.440 --> 0:28:21.920
<v Speaker 1>we had a seven inch that sold two hundred copies,

0:28:22.320 --> 0:28:23.800
<v Speaker 1>And that amazed me because I meant there were two

0:28:23.880 --> 0:28:26.679
<v Speaker 1>hundred people who had heard the music we made. But

0:28:26.760 --> 0:28:29.520
<v Speaker 1>now there were a thousand people who heard the music

0:28:29.600 --> 0:28:31.840
<v Speaker 1>I had made, And I if my career had ended

0:28:31.840 --> 0:28:34.439
<v Speaker 1>in I would have been pretty happy. But then the

0:28:34.480 --> 0:28:37.640
<v Speaker 1>next single was a remix of the song Go, which

0:28:37.640 --> 0:28:40.520
<v Speaker 1>became a top ten record around Europe and around the

0:28:40.520 --> 0:28:42.840
<v Speaker 1>rest of the world. I think sold half a million copies. Okay,

0:28:42.840 --> 0:28:46.000
<v Speaker 1>but this is still with these two crazy guys. Yeah.

0:28:46.080 --> 0:28:49.760
<v Speaker 1>Now they had a label, they had Instinct, and they

0:28:49.800 --> 0:28:53.360
<v Speaker 1>didn't really have an office. They had Jared's apartment and

0:28:53.440 --> 0:28:55.400
<v Speaker 1>I was. I set up my equipment there, so I

0:28:55.480 --> 0:28:59.040
<v Speaker 1>ran the office like I would clean the kitchen, send faxes,

0:28:59.440 --> 0:29:03.960
<v Speaker 1>take wreck words to ups and the post off. Yeah,

0:29:04.280 --> 0:29:06.480
<v Speaker 1>like answering the phone like hello, Instinct records while I

0:29:06.560 --> 0:29:11.640
<v Speaker 1>was like hitting pause on my sequencer. Um, it was great.

0:29:12.960 --> 0:29:15.840
<v Speaker 1>It was okay, joy full, joyful, happy time you may

0:29:15.960 --> 0:29:19.040
<v Speaker 1>go in your mind. Do you think it's a hit? No?

0:29:19.920 --> 0:29:23.120
<v Speaker 1>Absolutely not, because I was. I was a super weird,

0:29:23.160 --> 0:29:26.880
<v Speaker 1>obscure musician that no one had ever heard of, involved

0:29:26.880 --> 0:29:29.600
<v Speaker 1>in a genre techno that no one had heard of

0:29:29.720 --> 0:29:33.080
<v Speaker 1>or cared about. And I used music from Twin Peaks

0:29:33.120 --> 0:29:36.560
<v Speaker 1>and I was like, well, people know Twin Peaks, but no,

0:29:36.680 --> 0:29:39.640
<v Speaker 1>I didn't think anything was ever gonna happen. How did

0:29:39.680 --> 0:29:43.960
<v Speaker 1>it happen? It happened at the good Because this was

0:29:44.080 --> 0:29:47.360
<v Speaker 1>nineteen eighty nine or ninety the rave scene in the

0:29:47.480 --> 0:29:52.800
<v Speaker 1>UK was exploding and Twin Peaks was exploding, an interest

0:29:52.880 --> 0:29:57.480
<v Speaker 1>in New York dance music was exploding. So some influential

0:29:57.560 --> 0:30:01.080
<v Speaker 1>DJ's in the UK found this record and started playing

0:30:01.080 --> 0:30:03.720
<v Speaker 1>it and it just sort of metastasized in a very

0:30:03.720 --> 0:30:06.280
<v Speaker 1>good way. And what was that like being at the epicenter.

0:30:09.120 --> 0:30:12.600
<v Speaker 1>It's still possible that it didn't happen, you know, like

0:30:12.640 --> 0:30:16.160
<v Speaker 1>it's still possible that right, and that like that I'm

0:30:16.320 --> 0:30:21.320
<v Speaker 1>it's and I'm cleaning oatmeal bowls in the kitchen at

0:30:21.360 --> 0:30:25.640
<v Speaker 1>Instinct Records a K. Jared's apartment and somehow I'm having

0:30:25.680 --> 0:30:29.080
<v Speaker 1>a stroke or something or dissociative like Joan of Arc

0:30:29.120 --> 0:30:31.920
<v Speaker 1>style moment where like all of a sudden, like my

0:30:32.000 --> 0:30:35.160
<v Speaker 1>brain is like secreting still aside and naturally on its own.

0:30:35.200 --> 0:30:40.520
<v Speaker 1>And this is all a hallucination because the idea to

0:30:40.520 --> 0:30:44.240
<v Speaker 1>to go from selling a thousand records two then all

0:30:44.280 --> 0:30:46.920
<v Speaker 1>of a sudden, being on top of the pops multiple

0:30:46.960 --> 0:30:52.200
<v Speaker 1>times and traveling all around Europe and suddenly instead of

0:30:52.240 --> 0:30:55.600
<v Speaker 1>standing on stage in front of thirty people on Lowerie's

0:30:55.640 --> 0:30:58.560
<v Speaker 1>side standing on stage in front of ten thousand people

0:30:59.360 --> 0:31:01.640
<v Speaker 1>who knew of the songs that I had made, and

0:31:03.280 --> 0:31:11.160
<v Speaker 1>I it was wonderful, but so disconcerting. Disconcerting and what

0:31:11.200 --> 0:31:14.360
<v Speaker 1>was I've never expected it? Okay, But certainly when you

0:31:14.400 --> 0:31:17.240
<v Speaker 1>go from a club to a festival or a gig

0:31:17.240 --> 0:31:20.080
<v Speaker 1>of ten thousand people, you must add some level of

0:31:20.120 --> 0:31:23.760
<v Speaker 1>stage fright, fear, you know, authenticity figuring you know they're

0:31:23.920 --> 0:31:25.480
<v Speaker 1>I'm gonna go up and then people gonna say, what

0:31:25.520 --> 0:31:29.560
<v Speaker 1>the hell is this? Yeah, oddly enough the stage fright thing.

0:31:29.760 --> 0:31:34.360
<v Speaker 1>So my first ever real solo performance, and I think

0:31:34.400 --> 0:31:37.600
<v Speaker 1>you might appreciate certain aspects of this, was at the Palladium.

0:31:37.760 --> 0:31:41.080
<v Speaker 1>The Palladium was the coolest club in New York and

0:31:41.400 --> 0:31:43.520
<v Speaker 1>I had seen the Clash there, had seen Simple Minds

0:31:43.560 --> 0:31:46.560
<v Speaker 1>there and XTC. I've seen so many shows there. And

0:31:46.600 --> 0:31:50.520
<v Speaker 1>in nine or ninety I got asked to open up

0:31:50.520 --> 0:31:54.960
<v Speaker 1>for the band Snap. Remember Snap, I got the power

0:31:58.480 --> 0:32:03.120
<v Speaker 1>Um rhythm is a dance, sir. So Snap were huge.

0:32:03.320 --> 0:32:05.840
<v Speaker 1>The Power was the biggest song in the world. And

0:32:05.960 --> 0:32:09.000
<v Speaker 1>I somehow, I think the booking agent was dating a

0:32:09.040 --> 0:32:10.800
<v Speaker 1>friend of mine, and so I was going to open

0:32:10.880 --> 0:32:13.520
<v Speaker 1>up for Snap in front of thousands of people at

0:32:13.560 --> 0:32:17.560
<v Speaker 1>the Palladium. So I show up and I do my

0:32:17.640 --> 0:32:23.000
<v Speaker 1>sound check, and this is a lovely, odd little biographical detail.

0:32:23.120 --> 0:32:26.960
<v Speaker 1>The end of my sound check, I hear two people,

0:32:27.120 --> 0:32:29.480
<v Speaker 1>one person clapping, and I'm like, oh, someone's at my

0:32:29.480 --> 0:32:32.040
<v Speaker 1>sound check. And it was my boss, Yuki for Mars,

0:32:32.480 --> 0:32:34.880
<v Speaker 1>happened to be at the Palladium. And I walked out

0:32:34.920 --> 0:32:38.360
<v Speaker 1>to say hi, and there was this very small man

0:32:38.480 --> 0:32:42.040
<v Speaker 1>standing next to him and he said, Moby, meet Miles Davis.

0:32:43.760 --> 0:32:47.479
<v Speaker 1>So my first ever solo show was to two people,

0:32:47.560 --> 0:32:50.280
<v Speaker 1>one of whom was Miles Davis. You quit that too,

0:32:50.840 --> 0:32:52.320
<v Speaker 1>And he wouldn't shake my hand, but he was wearing

0:32:52.320 --> 0:32:57.360
<v Speaker 1>a beautiful suit. And and then ten o'clock rolls around.

0:32:58.040 --> 0:33:01.800
<v Speaker 1>The palladium is filled with bowl and the booking agent

0:33:01.880 --> 0:33:04.720
<v Speaker 1>comes to me and says, oh, bad news Snap didn't

0:33:04.760 --> 0:33:10.440
<v Speaker 1>make their flight, but you can go play. So I

0:33:10.560 --> 0:33:13.840
<v Speaker 1>walk on stage and the m C says, ladies and gentlemen,

0:33:14.000 --> 0:33:21.080
<v Speaker 1>bad news Snap aren't here, but from New York. Moby.

0:33:21.240 --> 0:33:23.640
<v Speaker 1>I hadn't made a record this point. People are booing

0:33:23.680 --> 0:33:26.280
<v Speaker 1>and throwing things, and I walk over to my equipment

0:33:26.360 --> 0:33:30.360
<v Speaker 1>and someone had unplugged it, and so I spent three

0:33:30.440 --> 0:33:34.280
<v Speaker 1>or four minutes in front of five thousand people plugging

0:33:34.280 --> 0:33:39.640
<v Speaker 1>in my equipment and rebooting discs, and they were booing.

0:33:39.720 --> 0:33:42.680
<v Speaker 1>And then when it was finally done and the first

0:33:42.720 --> 0:33:45.760
<v Speaker 1>song started, I was like, oh, I don't care. Like

0:33:45.800 --> 0:33:48.320
<v Speaker 1>I was like, this is the worst experience, this is

0:33:48.360 --> 0:33:50.880
<v Speaker 1>like such a nightmare experience. But I went through it,

0:33:51.480 --> 0:33:53.920
<v Speaker 1>you know, I was like, you were still again. By

0:33:53.960 --> 0:33:55.680
<v Speaker 1>the end of it, they were actually kind of with me.

0:33:55.760 --> 0:33:59.680
<v Speaker 1>And I realized that one thing that can serve for

0:34:00.080 --> 0:34:03.520
<v Speaker 1>armers really well is having a degree of contempt for

0:34:03.560 --> 0:34:07.320
<v Speaker 1>your audience where you can love them fascinating. I love

0:34:07.400 --> 0:34:09.880
<v Speaker 1>that where you can love them but you don't really

0:34:09.920 --> 0:34:12.359
<v Speaker 1>care if they love you in return. And that's when

0:34:12.400 --> 0:34:15.040
<v Speaker 1>you can just perform as opposed to like being some

0:34:15.160 --> 0:34:17.080
<v Speaker 1>like lap dog sick of fans, like saying like, oh

0:34:17.120 --> 0:34:19.040
<v Speaker 1>please love me, just being like, if you love me,

0:34:19.160 --> 0:34:22.040
<v Speaker 1>that's fine. If not, that's fine too, Okay. From the

0:34:22.040 --> 0:34:24.080
<v Speaker 1>Giggots Palladium, how do you end up on top of

0:34:24.160 --> 0:34:27.520
<v Speaker 1>the Pops? And in Europe? Just put that song go

0:34:28.360 --> 0:34:30.480
<v Speaker 1>with the Twin Peaks music on it, and it just

0:34:30.560 --> 0:34:33.080
<v Speaker 1>kept going and then all of a sudden, the rave

0:34:33.160 --> 0:34:36.160
<v Speaker 1>scene blew up in the United States. And at that point,

0:34:36.640 --> 0:34:40.560
<v Speaker 1>as you know, a lot of the rave producers were

0:34:40.800 --> 0:34:43.880
<v Speaker 1>very faceless. You know, they would give themselves alter egos

0:34:43.920 --> 0:34:46.840
<v Speaker 1>and they wouldn't perform. And I was one of the

0:34:46.840 --> 0:34:49.399
<v Speaker 1>only people with a face. And I guess technically they

0:34:49.440 --> 0:34:52.440
<v Speaker 1>all had faces, they just chose not to show them.

0:34:52.520 --> 0:34:55.960
<v Speaker 1>And so I started being on the cover of magazines.

0:34:56.120 --> 0:35:00.920
<v Speaker 1>And there weren't that many public figure tech no producers

0:35:01.000 --> 0:35:04.080
<v Speaker 1>in the United States. They were really a handful. And

0:35:04.120 --> 0:35:06.799
<v Speaker 1>I kept touring and touring and touring and touring with

0:35:06.840 --> 0:35:09.120
<v Speaker 1>the Prodigy and with the Shaman, you remember the band

0:35:09.160 --> 0:35:13.480
<v Speaker 1>and the Shaman, and and I just toured and toured

0:35:13.600 --> 0:35:17.520
<v Speaker 1>and toured like old school Chitland circuit style, like just

0:35:17.600 --> 0:35:20.759
<v Speaker 1>me and a keyboard, okay, a couple of things. Were

0:35:20.800 --> 0:35:25.200
<v Speaker 1>you making any money? I remember I got I played

0:35:25.239 --> 0:35:27.080
<v Speaker 1>one show in the UK and I got paid six

0:35:27.160 --> 0:35:29.640
<v Speaker 1>hundred dollars and I was like, I just got paid

0:35:29.719 --> 0:35:32.560
<v Speaker 1>six hundred dollars. Like I was at that time, I

0:35:32.600 --> 0:35:35.160
<v Speaker 1>was being paid a hundred dollars to DJ, and I

0:35:35.239 --> 0:35:38.239
<v Speaker 1>was like, wow, I just got paid six nights of

0:35:38.360 --> 0:35:44.160
<v Speaker 1>djaying in one night. So up until about two that

0:35:44.320 --> 0:35:46.680
<v Speaker 1>was the most I've ever made. And in retrospect, were

0:35:46.680 --> 0:35:49.480
<v Speaker 1>you being ripped off or that was absolute? Now, when

0:35:49.520 --> 0:35:54.200
<v Speaker 1>I think of like, like Martin Garrick's, I like Martin Garrick's.

0:35:54.239 --> 0:35:57.440
<v Speaker 1>I really like that Animal song quite a lot. A

0:35:57.480 --> 0:36:00.520
<v Speaker 1>young techno producer puts out one song. Six months later,

0:36:00.520 --> 0:36:02.120
<v Speaker 1>he has a private plane and he's getting paid a

0:36:02.200 --> 0:36:05.279
<v Speaker 1>hundred and fifty And I was like, oh, I had

0:36:05.320 --> 0:36:07.000
<v Speaker 1>a top ten single and I was getting paid six

0:36:07.080 --> 0:36:09.799
<v Speaker 1>hundred dollars and I clearly someone else was making a

0:36:09.800 --> 0:36:12.799
<v Speaker 1>lot of money. You're a pro janitor, and at this

0:36:12.840 --> 0:36:15.720
<v Speaker 1>point the act was solely you on stage with little

0:36:15.760 --> 0:36:19.719
<v Speaker 1>octoped and little Yamaha keyboard and a microphone that I

0:36:19.719 --> 0:36:23.120
<v Speaker 1>would yell into being an old punk rocker. Now is

0:36:23.160 --> 0:36:27.080
<v Speaker 1>it okay? And you're traveling? How does the record label

0:36:27.160 --> 0:36:32.279
<v Speaker 1>situation work? Eventually I left instinct because they were they

0:36:32.440 --> 0:36:36.920
<v Speaker 1>as often happens like structurally, they were quite small and

0:36:37.080 --> 0:36:39.760
<v Speaker 1>things were going well for me. So then I signed

0:36:39.800 --> 0:36:42.200
<v Speaker 1>with Mute Records and Electra. So it was with Bob

0:36:42.239 --> 0:36:46.480
<v Speaker 1>Krasnow in Electra here in the States and Daniel Miller

0:36:46.480 --> 0:36:50.680
<v Speaker 1>and Mute everywhere else. And did that work for you? Yeah?

0:36:50.760 --> 0:36:53.560
<v Speaker 1>I mean Daniel Miller and Mute Records, you know, you know,

0:36:53.800 --> 0:36:59.640
<v Speaker 1>Mute Records like Depeche Mode, Nick cave Um, goldfrapp Et, cetera,

0:36:59.719 --> 0:37:01.960
<v Speaker 1>on and on and on, like an amazing, amazing label.

0:37:02.640 --> 0:37:06.360
<v Speaker 1>Daniel has never dropped an artist. So what I signed

0:37:06.360 --> 0:37:08.799
<v Speaker 1>with Mute, I was like, I I'm set, like I

0:37:08.800 --> 0:37:10.600
<v Speaker 1>can do anything, and I know he's never going to

0:37:10.680 --> 0:37:13.719
<v Speaker 1>drop me because he's never dropped an artist. Electra, on

0:37:13.760 --> 0:37:18.040
<v Speaker 1>the other hand, I think they signed me thinking, oh,

0:37:18.239 --> 0:37:21.040
<v Speaker 1>he's going to be our techno wonder kins, like, you know,

0:37:21.080 --> 0:37:23.520
<v Speaker 1>there's this whole genre of music and he's going to

0:37:23.600 --> 0:37:25.720
<v Speaker 1>be the progenitor of it and we're gonna sell millions

0:37:25.760 --> 0:37:31.360
<v Speaker 1>of records. And that never happened. And so I became

0:37:31.800 --> 0:37:35.799
<v Speaker 1>sort of the bastard step child at Electra, understandably because

0:37:35.800 --> 0:37:41.840
<v Speaker 1>I wasn't selling records. But like as a record company person, Okay,

0:37:41.880 --> 0:37:43.880
<v Speaker 1>I don't mean that in a bad way. As a

0:37:44.120 --> 0:37:45.759
<v Speaker 1>I never really worked at a record companies, you don't

0:37:45.760 --> 0:37:47.520
<v Speaker 1>have to worry about offending as someone who has a

0:37:47.520 --> 0:37:52.080
<v Speaker 1>lot of experience around record companies. In I put out

0:37:52.080 --> 0:37:56.440
<v Speaker 1>an album called Everything Is Wrong, and Spin magazine that

0:37:56.640 --> 0:37:59.680
<v Speaker 1>autumn three or four months after it came out, said

0:37:59.719 --> 0:38:01.160
<v Speaker 1>this is going to be our album of the year.

0:38:01.760 --> 0:38:04.920
<v Speaker 1>We went to Electra and said, guess what. Spin at

0:38:04.960 --> 0:38:08.560
<v Speaker 1>the time was a real magazine with paper and everything,

0:38:09.239 --> 0:38:11.359
<v Speaker 1>and we went to them and said, Wow, it's going

0:38:11.400 --> 0:38:14.320
<v Speaker 1>to be the album of the year. And the response

0:38:14.360 --> 0:38:17.120
<v Speaker 1>from Electra was like, oh, sorry, it's already a catalog item.

0:38:17.120 --> 0:38:22.880
<v Speaker 1>There's nothing we can do. And did it fail accordingly? Yeah, okay.

0:38:23.160 --> 0:38:26.000
<v Speaker 1>So at this point in time, for most of the nineties,

0:38:26.440 --> 0:38:29.880
<v Speaker 1>you're putting up music with Mutant Electra and you're touring.

0:38:30.320 --> 0:38:32.840
<v Speaker 1>What kind of audience are especially where this music is

0:38:32.880 --> 0:38:36.480
<v Speaker 1>prominent in the UK and the continent. What kind of

0:38:36.800 --> 0:38:40.520
<v Speaker 1>gigs are you doing? Um? Clubs and raids every now

0:38:40.560 --> 0:38:43.040
<v Speaker 1>and then I would do a solo show, but that

0:38:43.840 --> 0:38:46.759
<v Speaker 1>up until the mid nineties, the solo shows didn't make

0:38:46.800 --> 0:38:52.240
<v Speaker 1>sense because like that genre of electronic dance music, people

0:38:52.320 --> 0:38:57.279
<v Speaker 1>wanted big events, you know, and so you'd played ten

0:38:57.360 --> 0:38:59.840
<v Speaker 1>thousand people and if I did a solo show on

0:39:00.239 --> 0:39:06.400
<v Speaker 1>people hundred and fifty people. Um, and yeah. I remember

0:39:06.800 --> 0:39:09.920
<v Speaker 1>because when I this album everything is wrong. I did

0:39:09.960 --> 0:39:13.680
<v Speaker 1>a solo tour and in some places we sold like

0:39:13.840 --> 0:39:15.920
<v Speaker 1>three d tickets and I was like, I can't believe

0:39:15.960 --> 0:39:20.239
<v Speaker 1>that's like three hundred people coming out to just see me, Like,

0:39:20.280 --> 0:39:22.040
<v Speaker 1>I'm not part of a rave I'm not on tour

0:39:22.120 --> 0:39:25.600
<v Speaker 1>with thirty other people. So that was really exciting. And

0:39:25.880 --> 0:39:29.359
<v Speaker 1>are you getting frustrated because you're queer is at this

0:39:29.440 --> 0:39:31.920
<v Speaker 1>level or you still believe there's something beyond or is

0:39:31.960 --> 0:39:35.200
<v Speaker 1>just beyond your wildest dreams? So I mentioned earlier my

0:39:35.239 --> 0:39:38.040
<v Speaker 1>high school punk rock band, The Vatican Commandos sold two

0:39:38.120 --> 0:39:41.719
<v Speaker 1>hundred copies of a seven inch Everything beyond that has

0:39:41.760 --> 0:39:45.680
<v Speaker 1>been unimaginable success. Okay, but at one point you get

0:39:45.680 --> 0:39:48.920
<v Speaker 1>frustrated and to change your sound. Well then, then in

0:39:49.000 --> 0:39:52.319
<v Speaker 1>the late nineties, I decided to make a punk rock

0:39:52.360 --> 0:39:55.440
<v Speaker 1>record because I think, like the artists you and I

0:39:55.480 --> 0:39:58.759
<v Speaker 1>grew up revering. I thought that part of being a

0:39:58.840 --> 0:40:02.600
<v Speaker 1>musician was to experiment and take chances, and to be

0:40:02.719 --> 0:40:05.440
<v Speaker 1>lou Reid making metal machine music, to be the Beatles

0:40:05.480 --> 0:40:08.040
<v Speaker 1>and making Revolution number nine, to be David Bowie and

0:40:08.080 --> 0:40:12.120
<v Speaker 1>go from like the Laughing Gnome to a Philadelphia disco artist.

0:40:12.239 --> 0:40:15.279
<v Speaker 1>Like I thought that's what musicians did. So I made

0:40:15.320 --> 0:40:18.920
<v Speaker 1>this very dark punk rock record because I thought it

0:40:18.960 --> 0:40:21.160
<v Speaker 1>was part of the job description of being a musician

0:40:21.200 --> 0:40:26.840
<v Speaker 1>to experiment, and it got crucified, like I got. Everyone

0:40:26.880 --> 0:40:30.840
<v Speaker 1>hated it except for a few people. Bono told me

0:40:30.880 --> 0:40:33.920
<v Speaker 1>he liked it as much as the First Class album.

0:40:34.040 --> 0:40:36.920
<v Speaker 1>Um Axel Rose, who now hates me, told me that

0:40:36.920 --> 0:40:39.080
<v Speaker 1>he would listen to it on repeat while driving around

0:40:39.160 --> 0:40:43.200
<v Speaker 1>l A. But the best is I got one piece

0:40:43.239 --> 0:40:49.040
<v Speaker 1>of fan mail from Terence Trent Darby on Tarrent Trent

0:40:49.200 --> 0:40:53.040
<v Speaker 1>Darby Purple Stationary telling me how much he liked the record.

0:40:53.160 --> 0:40:55.759
<v Speaker 1>So the three of them liked it. Okay, so the

0:40:55.840 --> 0:40:58.840
<v Speaker 1>motivation was just about expanding your horizons. I just, I

0:40:58.920 --> 0:41:01.920
<v Speaker 1>just I been making electronic music and I really missed

0:41:01.920 --> 0:41:06.440
<v Speaker 1>playing guitar and screaming. And then after the reaction, generally

0:41:06.440 --> 0:41:10.040
<v Speaker 1>speaking is negative. What headspace does that leave you? Well,

0:41:10.080 --> 0:41:12.360
<v Speaker 1>it was a very dark time because I've been sober

0:41:12.400 --> 0:41:15.800
<v Speaker 1>for eight years and then I started drinking again, started

0:41:15.880 --> 0:41:18.879
<v Speaker 1>dating a lot of professional sex workers, as you do,

0:41:19.600 --> 0:41:22.320
<v Speaker 1>um my mom, when are we talking about literally professional

0:41:22.320 --> 0:41:25.720
<v Speaker 1>sex workers. We're talking about people in the nightlife sphere

0:41:26.160 --> 0:41:31.200
<v Speaker 1>who live that lifestyle, people who would get paid to

0:41:31.280 --> 0:41:36.680
<v Speaker 1>have sex. Okay, what do we call that dating? Well,

0:41:36.920 --> 0:41:39.680
<v Speaker 1>I guess I Luckily I was not a customer. I

0:41:39.719 --> 0:41:42.880
<v Speaker 1>was a boyfriend, you know. And then also like Dominatrix

0:41:42.960 --> 0:41:46.480
<v Speaker 1>is strippers, phone sex workers, you know. Now this is

0:41:46.520 --> 0:41:49.600
<v Speaker 1>a whole another aspect. I mean, for those of us

0:41:49.640 --> 0:41:51.560
<v Speaker 1>who haven't walked on the dark side of the street,

0:41:51.840 --> 0:41:54.040
<v Speaker 1>how do you find these people? You live in Lower

0:41:54.040 --> 0:41:57.520
<v Speaker 1>Manhattan in the nineties, Like, you know, it's like like

0:41:57.880 --> 0:42:02.080
<v Speaker 1>bagels and professional sex workers? Okay? Were these hookers were

0:42:02.080 --> 0:42:05.799
<v Speaker 1>the heart of gold? Were they just low class people? Uh? No,

0:42:05.920 --> 0:42:10.640
<v Speaker 1>they were what I found and m hmmm, sort of

0:42:10.680 --> 0:42:14.320
<v Speaker 1>like growing up really poor. I don't know. For some reason,

0:42:14.440 --> 0:42:18.759
<v Speaker 1>I've always been attracted to friends or dating people who

0:42:18.800 --> 0:42:22.200
<v Speaker 1>sort of wear their brokenness on their sleeve. You know,

0:42:22.400 --> 0:42:25.080
<v Speaker 1>did you try to fix them? There's a little holding

0:42:25.160 --> 0:42:27.600
<v Speaker 1>cau Field is um going on there? Yeah? Like, you know,

0:42:27.840 --> 0:42:30.960
<v Speaker 1>you stepped in these relationships with these broken people. They end,

0:42:31.000 --> 0:42:35.799
<v Speaker 1>how usually with me having panic attacks and running away? Really,

0:42:35.840 --> 0:42:39.040
<v Speaker 1>so do you still have panic attacks today? Only when

0:42:39.040 --> 0:42:42.000
<v Speaker 1>I try to get close to anyone. But apart from that,

0:42:42.040 --> 0:42:47.759
<v Speaker 1>I'm fine? Yeah? Is that really pano deck just a

0:42:47.800 --> 0:42:51.120
<v Speaker 1>fear of intimacy? Oh no, it's full on. So what

0:42:51.160 --> 0:42:54.959
<v Speaker 1>did the professionals say about that. The professionals say that

0:42:55.600 --> 0:42:59.200
<v Speaker 1>because I've seen quite a lot of them that I

0:42:59.280 --> 0:43:01.440
<v Speaker 1>have panic attack. I mean, I was part of a

0:43:01.480 --> 0:43:04.480
<v Speaker 1>study on panic attack suffers at Columbia. I've seen a

0:43:04.520 --> 0:43:07.600
<v Speaker 1>lot lots of therapists been medicated. It doesn't. But what

0:43:07.640 --> 0:43:09.960
<v Speaker 1>we know about panic, because I used to suffer from bags,

0:43:10.160 --> 0:43:13.400
<v Speaker 1>is if you wait long enough, the panic will evaporate. Yes,

0:43:13.760 --> 0:43:18.520
<v Speaker 1>which largely is true. Unfortunately, I was diagnosed to Columbia's

0:43:18.560 --> 0:43:21.200
<v Speaker 1>having a very unique type of panic disorder. It's called

0:43:21.239 --> 0:43:24.920
<v Speaker 1>plateaued panic disorder. I once had a panic attack that

0:43:25.040 --> 0:43:28.760
<v Speaker 1>lasted for six months. And I'm not kidding. It started

0:43:29.120 --> 0:43:31.520
<v Speaker 1>and it just when I went to sleep. I wasn't panicking,

0:43:31.520 --> 0:43:33.120
<v Speaker 1>but I'd wake up and it would come right back.

0:43:33.680 --> 0:43:36.279
<v Speaker 1>Every waking minute I'd go to sleep, wake up, it

0:43:36.320 --> 0:43:38.799
<v Speaker 1>would come right back. And it only started waning about

0:43:38.880 --> 0:43:43.560
<v Speaker 1>six months into it. And but you could sleep with yeah,

0:43:43.640 --> 0:43:47.719
<v Speaker 1>like I would pass out just through exhaustion. Okay, Then uh,

0:43:48.080 --> 0:43:50.320
<v Speaker 1>let's wind it back. You go through the dark period

0:43:50.400 --> 0:43:53.080
<v Speaker 1>subsequent to your punk rock record, and then what are

0:43:53.080 --> 0:43:55.120
<v Speaker 1>you the thoughts in your brain as far as moving forward?

0:43:55.360 --> 0:43:57.600
<v Speaker 1>So I make the punk rock cracker called animal rights

0:43:58.600 --> 0:44:02.840
<v Speaker 1>um starting again. My mom dies of lung cancer. I

0:44:02.920 --> 0:44:09.319
<v Speaker 1>lose that. Did your mother acknowledge and respect your success? Oh?

0:44:09.360 --> 0:44:13.799
<v Speaker 1>She loved it, She loved it. There's the most adorable

0:44:13.840 --> 0:44:16.440
<v Speaker 1>story is when I put out the album Everything is

0:44:16.480 --> 0:44:20.319
<v Speaker 1>Wrong on a major label, Electric Records. She took a

0:44:20.400 --> 0:44:23.920
<v Speaker 1>review to the editor of the Dairy En News Review

0:44:25.320 --> 0:44:27.880
<v Speaker 1>and she walked in the Dairy and News Review circulation

0:44:28.520 --> 0:44:32.160
<v Speaker 1>five ten, and she walked in. She said, my son

0:44:32.320 --> 0:44:35.600
<v Speaker 1>is a famous musician. You should write about him. Did

0:44:35.640 --> 0:44:38.239
<v Speaker 1>they eventually, like I think ten years later. Yeah, it

0:44:38.320 --> 0:44:40.839
<v Speaker 1>was a big deal. Like to an interview for day mother,

0:44:40.960 --> 0:44:44.080
<v Speaker 1>your father's dead, your mother's passage, you were now an orphan.

0:44:44.160 --> 0:44:46.359
<v Speaker 1>Do you have any other family that you had connection with?

0:44:48.000 --> 0:44:50.719
<v Speaker 1>Two aunts and uncles, some cousins who I love very much,

0:44:51.200 --> 0:44:57.640
<v Speaker 1>but against a little Russian literature. On my mom's deathbed,

0:44:57.719 --> 0:45:01.520
<v Speaker 1>she told me that I have a half brother somewhere, somewhere, somewhere.

0:45:01.800 --> 0:45:04.000
<v Speaker 1>She got pregnant in high school, had a child put

0:45:04.080 --> 0:45:06.200
<v Speaker 1>up for adoption, and I found out about this right

0:45:06.200 --> 0:45:08.719
<v Speaker 1>before she died. And if you found that person, no,

0:45:09.480 --> 0:45:15.080
<v Speaker 1>But fast forward to the year two thousand seven. Um

0:45:15.280 --> 0:45:18.759
<v Speaker 1>Uh Alexandra Pelosi, Nancy Pelosi's daughter, and I are in

0:45:18.880 --> 0:45:21.800
<v Speaker 1>d C. Hanging out with Nancy. At this point Nancy

0:45:21.880 --> 0:45:26.239
<v Speaker 1>Speaker of the House. Um, so she was surrounded. I mean,

0:45:26.280 --> 0:45:28.080
<v Speaker 1>she's third in line to the presidency, so it's a

0:45:28.680 --> 0:45:30.520
<v Speaker 1>she's a big deal, and he's always been a big deal.

0:45:30.800 --> 0:45:33.000
<v Speaker 1>But I got very drunk and I was talking to

0:45:33.040 --> 0:45:37.880
<v Speaker 1>a journalist from Politico and somehow this came up that

0:45:37.920 --> 0:45:39.759
<v Speaker 1>I have a half brother, and I joking, he said,

0:45:39.840 --> 0:45:45.279
<v Speaker 1>maybe it's Karl Rove and he then he wrote a

0:45:45.320 --> 0:45:49.960
<v Speaker 1>funny little piece our Mobi and Karl Rove brothers. Keep

0:45:49.960 --> 0:45:51.920
<v Speaker 1>minding if you don't. I told this story once and

0:45:51.960 --> 0:45:53.759
<v Speaker 1>the person was like, who's Karl Rove. I was like, oh,

0:45:53.800 --> 0:45:59.880
<v Speaker 1>that's right, you're young. Um so, so Karl Rove was.

0:46:00.280 --> 0:46:03.040
<v Speaker 1>He's the one essentially was the architect of the Bush

0:46:03.080 --> 0:46:06.680
<v Speaker 1>white House. And so two weeks after this article comes out,

0:46:06.719 --> 0:46:10.319
<v Speaker 1>I get a letter on White House stationary, handwritten and said,

0:46:10.400 --> 0:46:13.759
<v Speaker 1>I haven't memorized, dear Moby, or is that Mr Moby?

0:46:13.800 --> 0:46:18.680
<v Speaker 1>It's not me. For one thing, I am seventeen years

0:46:18.719 --> 0:46:21.160
<v Speaker 1>older than you, and I have no musical ability. Have

0:46:21.280 --> 0:46:24.400
<v Speaker 1>you considered James Carville as he's bald and plays the guitar.

0:46:27.120 --> 0:46:29.960
<v Speaker 1>I haven't framed in my bathroom your pal Karl Rove,

0:46:30.800 --> 0:46:34.360
<v Speaker 1>so of the three and a half billion men on

0:46:34.400 --> 0:46:36.960
<v Speaker 1>the planet, I know that Karl Rove is not my brother,

0:46:38.239 --> 0:46:45.360
<v Speaker 1>so you'll still be hunting. You're listening to my conversation

0:46:45.400 --> 0:46:48.880
<v Speaker 1>with Grammy nominated DJ Moby. We'll be back in a moment.

0:46:50.040 --> 0:46:52.120
<v Speaker 1>I hope you're enjoying listening to this episode of the

0:46:52.160 --> 0:46:54.960
<v Speaker 1>Bob Left Sets podcast. If you want to see videos

0:46:54.960 --> 0:46:57.359
<v Speaker 1>and photos of our guests, go to at tune in

0:46:57.440 --> 0:47:01.520
<v Speaker 1>on Twitter, Facebook and Instagram. Now more of Moby and

0:47:01.600 --> 0:47:03.680
<v Speaker 1>me in front of a live studio audience at the

0:47:03.800 --> 0:47:07.440
<v Speaker 1>l A Times Festival. Book on the Bob Left Sets podcast.

0:47:11.120 --> 0:47:13.960
<v Speaker 1>So in this dark period, how do you decide to

0:47:14.000 --> 0:47:16.520
<v Speaker 1>make music again? And what music do you then make? Well?

0:47:16.840 --> 0:47:19.920
<v Speaker 1>I was playing Glastonbury, do you know. Glastonbury's sort of

0:47:19.920 --> 0:47:22.000
<v Speaker 1>like one of the original biggest festivals in the world

0:47:22.480 --> 0:47:27.839
<v Speaker 1>and in the UK. And um, I was playing Glastonbury.

0:47:27.920 --> 0:47:30.279
<v Speaker 1>It was raining, it was muddy, and it was disgusting,

0:47:30.360 --> 0:47:32.680
<v Speaker 1>and they wanted me to play a dance music set

0:47:33.239 --> 0:47:35.480
<v Speaker 1>and I had and I this is after the Animal

0:47:35.560 --> 0:47:37.200
<v Speaker 1>Rights the rock record, and I wanted to make a

0:47:37.320 --> 0:47:40.120
<v Speaker 1>darker punk rock record. I was like, Animal Rights wasn't

0:47:40.239 --> 0:47:42.759
<v Speaker 1>dark enough. It was pretty dark, and I wanted to

0:47:42.800 --> 0:47:47.440
<v Speaker 1>make like a super like Sepultura inspired dark punk rock record.

0:47:47.719 --> 0:47:50.799
<v Speaker 1>And one of my managers said the simplest little thing.

0:47:51.080 --> 0:47:52.799
<v Speaker 1>He said, well you could do that, he said, but

0:47:52.840 --> 0:47:57.319
<v Speaker 1>you know, your electronic music makes people happy, and that

0:47:57.400 --> 0:48:01.200
<v Speaker 1>was what reached me. He didn't say you could sell more,

0:48:01.440 --> 0:48:03.440
<v Speaker 1>he didn't say it would be better for your career.

0:48:03.520 --> 0:48:05.720
<v Speaker 1>He said it makes people happy. And all of a sudden,

0:48:05.760 --> 0:48:08.239
<v Speaker 1>I thought like, oh, if I have the ability to

0:48:08.320 --> 0:48:10.480
<v Speaker 1>put music out into the world, why not try to

0:48:10.480 --> 0:48:14.200
<v Speaker 1>make people happy? And so then, um, I lost my

0:48:14.239 --> 0:48:16.800
<v Speaker 1>deal with Electra and I made the album Play thinking

0:48:16.800 --> 0:48:19.600
<v Speaker 1>it was going to be my last album. Okay, you

0:48:19.760 --> 0:48:21.680
<v Speaker 1>thought it was going to be your last album for

0:48:21.760 --> 0:48:24.799
<v Speaker 1>Elektra or his last album period period, because no one

0:48:24.880 --> 0:48:26.879
<v Speaker 1>was into I mean, I was such a has been

0:48:26.920 --> 0:48:31.319
<v Speaker 1>at this point, Like I was like, as has been

0:48:31.560 --> 0:48:34.000
<v Speaker 1>as it has been, could be. That record ultimately came

0:48:34.040 --> 0:48:37.600
<v Speaker 1>out in V two Richard Brimpson's and people. Yeah in

0:48:37.680 --> 0:48:41.279
<v Speaker 1>the US, um was the record done when they picked

0:48:41.320 --> 0:48:44.360
<v Speaker 1>it up? Yeah, one of the n r. People at

0:48:44.480 --> 0:48:48.279
<v Speaker 1>V two had heard somehow heard one of the songs

0:48:48.360 --> 0:48:52.239
<v Speaker 1>on NPR some college radio station upstate New York, and

0:48:52.280 --> 0:48:57.160
<v Speaker 1>they signed it for North America. Okay, a licensing deal,

0:48:57.160 --> 0:48:59.720
<v Speaker 1>which is great because now I own it again. Okay,

0:48:59.760 --> 0:49:04.200
<v Speaker 1>so the record you're making it, It had a number

0:49:04.239 --> 0:49:07.840
<v Speaker 1>of guests, spots, etcetera. For those looking at your career,

0:49:07.880 --> 0:49:10.879
<v Speaker 1>this would be a larger step of broater thing than

0:49:10.920 --> 0:49:14.560
<v Speaker 1>you would have done previously. Oh it was. I mean

0:49:14.600 --> 0:49:18.640
<v Speaker 1>everything about it is baffling. And made it on old,

0:49:18.760 --> 0:49:23.440
<v Speaker 1>broken equipment in my tiny little studio on Mott Street. UM.

0:49:23.520 --> 0:49:26.160
<v Speaker 1>Some of the songs are mixed onto cassette. There are

0:49:26.200 --> 0:49:28.720
<v Speaker 1>three songs on Play that are demos that were recorded

0:49:28.760 --> 0:49:33.960
<v Speaker 1>to cassette. UM. Made for a budget of exactly zero

0:49:34.040 --> 0:49:39.120
<v Speaker 1>dollars and released with no expectations Like I remember someone

0:49:39.200 --> 0:49:42.400
<v Speaker 1>at V two saying, you know what, we think Play

0:49:42.560 --> 0:49:45.800
<v Speaker 1>could sell fifty copies, and I was like, it was

0:49:45.920 --> 0:49:48.479
<v Speaker 1>m Richard Sanders, do you know Richard? Sir Richard said,

0:49:48.640 --> 0:49:50.640
<v Speaker 1>you know what, we actually have high hopes for Play.

0:49:50.680 --> 0:49:53.920
<v Speaker 1>We think it could sell fifty thousand copies. Fast forward

0:49:53.920 --> 0:49:58.440
<v Speaker 1>a year, it was selling two copies a week. With

0:49:59.360 --> 0:50:03.279
<v Speaker 1>that or alternately, that is not true and I am

0:50:03.320 --> 0:50:09.040
<v Speaker 1>just hallucinating somewhere and this is all okay, So you

0:50:09.120 --> 0:50:11.240
<v Speaker 1>make that record. There are a lot of legends about

0:50:11.280 --> 0:50:14.680
<v Speaker 1>that record. One that every track was licensed for commercials?

0:50:15.280 --> 0:50:18.279
<v Speaker 1>A is that literally true? Every track was licensed, but

0:50:18.360 --> 0:50:21.200
<v Speaker 1>a lot of the licenses were actually for like student

0:50:21.239 --> 0:50:24.399
<v Speaker 1>films because I'm tight, etcetera. So like there were a

0:50:24.400 --> 0:50:29.560
<v Speaker 1>lot of commercial licenses for which I was crucified over

0:50:29.600 --> 0:50:31.560
<v Speaker 1>and over and over and over and over once again

0:50:31.600 --> 0:50:35.880
<v Speaker 1>at the bleeding edge looking back at your career. Was

0:50:35.960 --> 0:50:38.799
<v Speaker 1>that your effort, the label's effort, the manager's effort. How

0:50:38.800 --> 0:50:44.280
<v Speaker 1>did those licenses come to first? Okay, so the album

0:50:44.320 --> 0:50:46.719
<v Speaker 1>Everything is wrong, I had it. There's a song on

0:50:46.760 --> 0:50:48.560
<v Speaker 1>They're called God Moving over the Face of the Water.

0:50:48.640 --> 0:50:52.040
<v Speaker 1>So it was used in Michael Man's Heat Thanks um.

0:50:52.320 --> 0:50:55.880
<v Speaker 1>Range Rover came to me and said, we want to

0:50:55.880 --> 0:50:58.120
<v Speaker 1>give you a hundred and fifty thou dollars to use

0:50:58.160 --> 0:51:00.759
<v Speaker 1>God Moving over the Face of the Waters in a

0:51:00.880 --> 0:51:05.080
<v Speaker 1>Range Rover commercial. My knee jerk reaction was to say,

0:51:05.160 --> 0:51:08.280
<v Speaker 1>fuck you, Range Rover. You know I'm an old punk rocker.

0:51:08.320 --> 0:51:11.440
<v Speaker 1>I don't even have a driver's license, like go funk yourself.

0:51:12.000 --> 0:51:15.560
<v Speaker 1>But then but then I thought, I was like, well,

0:51:15.560 --> 0:51:17.320
<v Speaker 1>if I go to if I go to Green Peace

0:51:17.960 --> 0:51:20.640
<v Speaker 1>and say I got offered a hundred and fifty thousand

0:51:20.719 --> 0:51:23.000
<v Speaker 1>dollars to license music to Range Rover, and I told

0:51:23.080 --> 0:51:25.319
<v Speaker 1>him to go funk themselves. Some my green piece would

0:51:25.320 --> 0:51:28.399
<v Speaker 1>say good for you. Or if I said, oh, here's

0:51:28.400 --> 0:51:30.680
<v Speaker 1>a check for a hundred and fifty thousand dollars, they'd

0:51:30.680 --> 0:51:34.120
<v Speaker 1>be a lot happier. So I sort of decided to

0:51:34.280 --> 0:51:38.759
<v Speaker 1>enter this faustian robin hood slash bargain where I was like,

0:51:38.960 --> 0:51:42.279
<v Speaker 1>I will license my music as long as ultimately I

0:51:42.400 --> 0:51:46.400
<v Speaker 1>do good things with the money. All of the money

0:51:46.440 --> 0:51:49.239
<v Speaker 1>over time, yes, we look, yeah, absolutely over time. That

0:51:49.400 --> 0:51:51.719
<v Speaker 1>is the goal is to like any money that has

0:51:51.760 --> 0:51:55.320
<v Speaker 1>come in from licensing, I have to get rid of Wow.

0:51:55.880 --> 0:51:59.840
<v Speaker 1>So in any event, you're like, I also would like

0:51:59.880 --> 0:52:02.520
<v Speaker 1>to say in the early two thousands, I did forget

0:52:02.520 --> 0:52:06.880
<v Speaker 1>about that for a while, you know, so now trying

0:52:06.920 --> 0:52:10.239
<v Speaker 1>to like maya culpa makeup for it. Okay, but the

0:52:10.320 --> 0:52:14.319
<v Speaker 1>record is not an instant here. It's successful, but it's

0:52:14.360 --> 0:52:18.080
<v Speaker 1>not mega. I mean, it's old. Four thousand copies the

0:52:18.160 --> 0:52:21.160
<v Speaker 1>week it was released, and then two thousand copies the

0:52:21.200 --> 0:52:23.440
<v Speaker 1>next week and then a thousand copies the week after that,

0:52:23.520 --> 0:52:27.840
<v Speaker 1>And the licensing to your question was mainly done because

0:52:28.239 --> 0:52:31.839
<v Speaker 1>music supervisors were the only people interested, like k CRW

0:52:31.920 --> 0:52:35.239
<v Speaker 1>here and people who wanted to use the music and

0:52:35.320 --> 0:52:38.240
<v Speaker 1>TV shows where that was the only attention the record

0:52:38.320 --> 0:52:41.080
<v Speaker 1>was getting. So we just said yes. And what was

0:52:41.160 --> 0:52:43.719
<v Speaker 1>the turning point to breakthrough on the record that blew

0:52:43.760 --> 0:52:47.520
<v Speaker 1>it up? In your mind? The turning point was Danny

0:52:47.560 --> 0:52:50.920
<v Speaker 1>Boyle using porcelain in the movie The Beach, because The

0:52:50.920 --> 0:52:54.480
<v Speaker 1>Beach with Leo DiCaprio's first movie after Titanic, so everyone

0:52:54.480 --> 0:52:57.640
<v Speaker 1>went to see it and they used porcelain when they

0:52:57.680 --> 0:53:00.400
<v Speaker 1>get to the beach, when they get to the island,

0:53:00.480 --> 0:53:03.000
<v Speaker 1>and you could just sense like that was the moment

0:53:03.080 --> 0:53:05.920
<v Speaker 1>where like it went from being a weird, little underground

0:53:05.920 --> 0:53:09.600
<v Speaker 1>record to all of a sudden like being so much

0:53:09.640 --> 0:53:12.040
<v Speaker 1>bigger than that. And then you're tied up with Gwen Stefani,

0:53:12.120 --> 0:53:15.800
<v Speaker 1>You're all over MTV. What's it like being the either

0:53:15.880 --> 0:53:19.439
<v Speaker 1>hurricane on that? It was great because it was also

0:53:19.520 --> 0:53:22.400
<v Speaker 1>bad anthropologically baffling, because I thought this was going to

0:53:22.440 --> 0:53:23.960
<v Speaker 1>be my last record and I was going to move

0:53:24.000 --> 0:53:28.960
<v Speaker 1>back to Connecticut teach philosophy at community college, and you know,

0:53:29.680 --> 0:53:33.279
<v Speaker 1>being a loveless marriage, um and and and part of

0:53:33.280 --> 0:53:37.000
<v Speaker 1>the player and die. And then all of a sudden,

0:53:37.040 --> 0:53:39.920
<v Speaker 1>like there are movie stars coming to my concerts and

0:53:39.960 --> 0:53:42.120
<v Speaker 1>they want to date me, and I'm getting invited to

0:53:42.160 --> 0:53:47.360
<v Speaker 1>amazing parties and instead of playing too like the touring,

0:53:47.440 --> 0:53:50.279
<v Speaker 1>for example, in the UK, the first show that I

0:53:50.320 --> 0:53:52.200
<v Speaker 1>did was at a place called the Scala on the

0:53:52.200 --> 0:53:54.520
<v Speaker 1>Play tour and we sold four hundred tickets, which I

0:53:54.520 --> 0:53:59.040
<v Speaker 1>thought was great. The last show was selling out Wembley

0:53:59.080 --> 0:54:04.640
<v Speaker 1>and adding a show at Brixton Academy Stadium the Arenas,

0:54:04.680 --> 0:54:09.200
<v Speaker 1>which is like fifteen thousand. Um actually did end up

0:54:09.200 --> 0:54:14.480
<v Speaker 1>playing Wembley Stadium, but it's a much later and it

0:54:14.520 --> 0:54:16.560
<v Speaker 1>has not. It was I was playing a corporate event

0:54:16.600 --> 0:54:18.160
<v Speaker 1>and there were two hundred people there. And if you've

0:54:18.200 --> 0:54:21.400
<v Speaker 1>ever played two hundred people in a stadium that holds

0:54:21.440 --> 0:54:26.080
<v Speaker 1>sixty thousand, things are not working. These are these are

0:54:26.080 --> 0:54:27.960
<v Speaker 1>going up. You started off the playing the four hundred,

0:54:28.000 --> 0:54:32.200
<v Speaker 1>now you're playing the fifteen thousand, and what are you thinking.

0:54:33.000 --> 0:54:35.720
<v Speaker 1>I'm thinking that this is the answer to every problem

0:54:35.760 --> 0:54:39.839
<v Speaker 1>I've ever had, and you ultimately learned that it's not,

0:54:39.880 --> 0:54:41.520
<v Speaker 1>of course. Yeah, And then I was like, I was like,

0:54:42.080 --> 0:54:45.480
<v Speaker 1>I mean, I just finished writing memoir too, And there's

0:54:46.000 --> 0:54:50.760
<v Speaker 1>this one scene. I mean, I feel very narcissistic quoting myself,

0:54:50.960 --> 0:54:54.000
<v Speaker 1>but there's a scene where like I'm playing a concert

0:54:54.080 --> 0:54:55.760
<v Speaker 1>and I look over at the side of the stage

0:54:56.160 --> 0:54:59.440
<v Speaker 1>and there's like Madonna and Gwyneth Paltrow Natalie Portman dancing

0:55:00.239 --> 0:55:04.920
<v Speaker 1>and and I imagine a conversation with myself, like me

0:55:05.040 --> 0:55:07.160
<v Speaker 1>with like the old eighteen year old punk rocker, and

0:55:07.160 --> 0:55:09.200
<v Speaker 1>the eighteen year old punk rocker is like, fuck you,

0:55:09.239 --> 0:55:12.480
<v Speaker 1>don't you know celebrity culture is facile and like you're

0:55:12.920 --> 0:55:17.239
<v Speaker 1>such a running dog, licks bittle accommodator to these paradigms

0:55:17.239 --> 0:55:19.879
<v Speaker 1>that you know are cheap and shitty. And I was like, yeah,

0:55:19.960 --> 0:55:24.799
<v Speaker 1>but they're being nice to me. It's like Howard Sterring today. Yeah,

0:55:24.960 --> 0:55:30.439
<v Speaker 1>so did you test the waters all of them? Yeah?

0:55:30.440 --> 0:55:33.799
<v Speaker 1>Of course? And what did you learn witch waters? I mean,

0:55:33.840 --> 0:55:37.000
<v Speaker 1>like the water. You know, you're saying the door opens up.

0:55:37.280 --> 0:55:41.600
<v Speaker 1>You're a recognizable character. You talk about not feeling good

0:55:41.600 --> 0:55:45.400
<v Speaker 1>about yourself and therefore dating sex workers. Suddenly iconic people

0:55:45.400 --> 0:55:48.200
<v Speaker 1>are interested in you. Was that something that you then

0:55:48.280 --> 0:55:51.040
<v Speaker 1>proceeded to date those people, of course, and what was

0:55:51.080 --> 0:55:56.680
<v Speaker 1>that like? Uh interesting? Because you Okay, So we live

0:55:56.719 --> 0:56:00.400
<v Speaker 1>in a culture where and I'm stating the obvious, but

0:56:00.440 --> 0:56:04.719
<v Speaker 1>we live in a culture where we're all instilled with

0:56:04.960 --> 0:56:08.600
<v Speaker 1>the belief that if you have the right combination of

0:56:08.640 --> 0:56:15.439
<v Speaker 1>like fame, money, sex, etcetera, everything's going to work out.

0:56:15.920 --> 0:56:19.080
<v Speaker 1>And I was given all of that times a thousand,

0:56:20.000 --> 0:56:23.719
<v Speaker 1>and I was never less happy. You know. So, like

0:56:24.560 --> 0:56:27.080
<v Speaker 1>the more I drank, the more people I dated, the

0:56:27.120 --> 0:56:28.880
<v Speaker 1>more drugs I did, the more money I made. And

0:56:28.880 --> 0:56:32.040
<v Speaker 1>I'm not looking for sympathy, and I'm not complaining, but

0:56:32.680 --> 0:56:35.719
<v Speaker 1>it's just an old school object lesson of Like, you know,

0:56:35.760 --> 0:56:38.960
<v Speaker 1>I found myself in a penthouse apartment on the Upper

0:56:39.000 --> 0:56:41.800
<v Speaker 1>West Side with Bono and Alec Baldwin as my neighbor,

0:56:42.040 --> 0:56:44.480
<v Speaker 1>and I've never been less happy. I love Bonno and

0:56:44.520 --> 0:56:47.240
<v Speaker 1>Alec Baldwin. I'm not I'm not involving them in my despair.

0:56:47.800 --> 0:56:51.439
<v Speaker 1>But people also find out that really this roving jet

0:56:51.520 --> 0:56:54.799
<v Speaker 1>set are just not your people. Yeah, well that's the thing.

0:56:54.880 --> 0:56:58.279
<v Speaker 1>Like I grew up with the idea that like, if

0:56:58.320 --> 0:57:00.880
<v Speaker 1>you're going to a party, if you get invited to

0:57:00.920 --> 0:57:05.920
<v Speaker 1>a party with Bill Clinton and George Plimpton and Natalie Portman.

0:57:06.000 --> 0:57:10.080
<v Speaker 1>There's lots of similar sounding last names, um, and there's

0:57:10.160 --> 0:57:14.080
<v Speaker 1>all these like luminaries and celebrities, you know, like the

0:57:14.120 --> 0:57:18.400
<v Speaker 1>most remarkable famous, even at times areadite people in the world.

0:57:18.440 --> 0:57:20.880
<v Speaker 1>Like you think, Wow, if I could just be friends

0:57:20.880 --> 0:57:22.560
<v Speaker 1>with them, things are going to be great. And then

0:57:22.600 --> 0:57:24.480
<v Speaker 1>you're at that party and you're like, oh, they're not

0:57:24.560 --> 0:57:28.080
<v Speaker 1>so great, you know, like you realize, like, oh, the

0:57:28.160 --> 0:57:31.600
<v Speaker 1>friends I grew up with are nicer and funnier, and

0:57:32.200 --> 0:57:34.040
<v Speaker 1>the people I went to high school with actually are

0:57:34.040 --> 0:57:36.640
<v Speaker 1>a little more insightful and humble. I'm sure you've had

0:57:36.640 --> 0:57:39.080
<v Speaker 1>that experience mattersolutely. But then I asked, what did we am?

0:57:39.120 --> 0:57:42.200
<v Speaker 1>I a writer and therefore inherently a loner. We all

0:57:42.240 --> 0:57:43.840
<v Speaker 1>like the experience when you're sitting there and you get

0:57:43.840 --> 0:57:46.880
<v Speaker 1>a letter from Bano or even Carl, etcetera. But then

0:57:46.920 --> 0:57:49.760
<v Speaker 1>you have enough experiences where you're in these environments, the

0:57:49.800 --> 0:57:52.040
<v Speaker 1>door opens and to go, do I really belong here?

0:57:52.360 --> 0:57:54.800
<v Speaker 1>Is this fulfilling for me? Especially at first because it

0:57:54.920 --> 0:57:58.320
<v Speaker 1>was so exciting and you're like, there's Gwenny's and she's

0:57:58.360 --> 0:58:00.720
<v Speaker 1>being nice to me. And there's in such a movie

0:58:00.720 --> 0:58:02.400
<v Speaker 1>star who even wants to go on a date with me,

0:58:02.440 --> 0:58:04.600
<v Speaker 1>And you're like, this is great, And then you take

0:58:04.640 --> 0:58:06.720
<v Speaker 1>a step back and you're like, but I haven't had

0:58:06.760 --> 0:58:11.280
<v Speaker 1>a meaningful conversation with anyone. And it's basically every public

0:58:11.320 --> 0:58:16.360
<v Speaker 1>figure I've ever met is this messy combination of entitlement

0:58:16.400 --> 0:58:19.720
<v Speaker 1>and terror. You talk about the terror. We certainly know

0:58:19.760 --> 0:58:21.840
<v Speaker 1>the entitle the terrors that it's going to go away.

0:58:22.320 --> 0:58:27.280
<v Speaker 1>Speaking of going away, you have this gargantuan success with play.

0:58:27.320 --> 0:58:30.800
<v Speaker 1>To what degree do you feel internal pressure to follow

0:58:30.840 --> 0:58:34.120
<v Speaker 1>it up? Do something different? Can I reach this level?

0:58:34.160 --> 0:58:35.760
<v Speaker 1>And if you look at someone like at the Pinnacle

0:58:36.040 --> 0:58:38.560
<v Speaker 1>Michael Jackson, he has his pinnacle with thrill and when

0:58:38.560 --> 0:58:42.160
<v Speaker 1>she tries to imitate ultimately badly. Okay, But you have

0:58:42.320 --> 0:58:45.320
<v Speaker 1>this iconic success, and except for maybe some of the

0:58:45.360 --> 0:58:48.160
<v Speaker 1>people in your electronic world, it might be jealous. It

0:58:48.240 --> 0:58:51.160
<v Speaker 1>was a universally adored record and everybody loved the record.

0:58:51.640 --> 0:58:55.280
<v Speaker 1>So moving forward, what were your thoughts moving forward? My

0:58:55.320 --> 0:58:58.800
<v Speaker 1>thought was, I want more fame. I want more of

0:58:58.840 --> 0:59:01.600
<v Speaker 1>everything I have. If I'm going out five nights a week,

0:59:01.640 --> 0:59:03.360
<v Speaker 1>I want to go out seven nights a week. If

0:59:03.360 --> 0:59:06.080
<v Speaker 1>I'm sleeping with ten people, I want to sleep with

0:59:06.080 --> 0:59:09.200
<v Speaker 1>twenty people. If I want if I sold ten million records,

0:59:09.200 --> 0:59:11.360
<v Speaker 1>I want to sell twenty million records. Like I lost

0:59:11.440 --> 0:59:15.920
<v Speaker 1>my fucking mind. Like I wanted everything, but more of everything,

0:59:16.480 --> 0:59:21.760
<v Speaker 1>and slowly things didn't work out, like you know, like

0:59:21.880 --> 0:59:25.280
<v Speaker 1>play was the peak, and then the subsequent records the

0:59:25.320 --> 0:59:30.520
<v Speaker 1>reviews got bad, started selling fewer tickets, etcetera. And I

0:59:30.600 --> 0:59:33.880
<v Speaker 1>panicked because I thought that fame and records say as

0:59:33.920 --> 0:59:36.880
<v Speaker 1>an all this. All I wanted was for everything to

0:59:36.920 --> 0:59:39.160
<v Speaker 1>stay at the peak of play every day for the

0:59:39.200 --> 0:59:44.040
<v Speaker 1>rest of my life, and not to anthropomorphize the universe.

0:59:44.040 --> 0:59:46.680
<v Speaker 1>But the universe had other plans in mind form So

0:59:46.880 --> 0:59:50.880
<v Speaker 1>but in your mind you tried to replicate the successful play.

0:59:51.080 --> 0:59:53.160
<v Speaker 1>Oh absolutely, I mean I tried to make music that

0:59:53.200 --> 0:59:57.280
<v Speaker 1>I liked, but I tried to also tick as many

0:59:57.320 --> 0:59:59.080
<v Speaker 1>boxes as possible. I was like, well, I want to

0:59:59.440 --> 1:00:01.960
<v Speaker 1>I don't want to a complete lick spittle sell out,

1:00:02.320 --> 1:00:04.680
<v Speaker 1>So I want to make music I like that. Also,

1:00:04.920 --> 1:00:07.560
<v Speaker 1>radio programmers will like that, journalists will like that, the

1:00:07.560 --> 1:00:09.600
<v Speaker 1>people at the record company will like that, the sync

1:00:09.640 --> 1:00:12.640
<v Speaker 1>agents will like that, the licensees will like And I

1:00:12.680 --> 1:00:15.320
<v Speaker 1>realized there are people who are good at that, like

1:00:15.440 --> 1:00:17.760
<v Speaker 1>they're as you know, Like there are tons of great

1:00:18.240 --> 1:00:22.240
<v Speaker 1>pop producers who know how to make great records that

1:00:22.400 --> 1:00:25.800
<v Speaker 1>also do well at radio, etcetera. I'm not that person,

1:00:26.280 --> 1:00:29.880
<v Speaker 1>you know. And the more I tried, the worst the results.

1:00:29.920 --> 1:00:33.000
<v Speaker 1>In retrospect, if you had to do it all over again,

1:00:33.520 --> 1:00:37.560
<v Speaker 1>would you be able to make records that resonated more

1:00:37.680 --> 1:00:41.640
<v Speaker 1>or more successful or those those records just you know,

1:00:41.720 --> 1:00:45.880
<v Speaker 1>it wasn't your time anymore. Um, everything is perfect. I

1:00:45.880 --> 1:00:48.920
<v Speaker 1>mean at the time, I would have said, yes, like

1:00:49.160 --> 1:00:51.560
<v Speaker 1>show me how to make a more successful record, show

1:00:51.600 --> 1:00:53.800
<v Speaker 1>me how to produce a pop song that will give

1:00:53.800 --> 1:00:56.240
<v Speaker 1>me back the career, the pinnacle that I had with play.

1:00:56.280 --> 1:01:00.200
<v Speaker 1>But now you and I are sitting here, We're ober

1:01:00.280 --> 1:01:03.960
<v Speaker 1>and healthy. I've got a nice bunch of people here, Um,

1:01:04.000 --> 1:01:07.840
<v Speaker 1>and I have a perspective that's informed by success and failure.

1:01:08.000 --> 1:01:09.840
<v Speaker 1>And if you like your perspective, you can't be too

1:01:09.920 --> 1:01:11.920
<v Speaker 1>upset at the circumstances that have led you to have

1:01:12.000 --> 1:01:14.880
<v Speaker 1>that perspective. Okay, let's go back to some of the

1:01:14.960 --> 1:01:18.400
<v Speaker 1>highlights or low lights of that era. Eminem famously dissed

1:01:18.440 --> 1:01:23.240
<v Speaker 1>you in a song, Were you happy about that MORTI five. Um.

1:01:23.280 --> 1:01:25.920
<v Speaker 1>At first I thought it was a joke, and then

1:01:25.960 --> 1:01:27.720
<v Speaker 1>I ran into him at the two thousand and two

1:01:27.800 --> 1:01:30.320
<v Speaker 1>MTV Music Awards and he tried to attack me. He

1:01:30.360 --> 1:01:32.760
<v Speaker 1>also attacked Triumph to insult comic dogs. So I was like,

1:01:33.640 --> 1:01:35.840
<v Speaker 1>clearly he was having a bad day to go after

1:01:35.960 --> 1:01:40.080
<v Speaker 1>like a skinny, bald vegan and a puppet. Um. But

1:01:42.040 --> 1:01:43.960
<v Speaker 1>but up until that moment, I thought like, oh, this

1:01:44.040 --> 1:01:46.640
<v Speaker 1>is like because I actually I don't know Eminem but

1:01:46.680 --> 1:01:49.280
<v Speaker 1>I like some of his music. Um, I think he's

1:01:49.280 --> 1:01:54.760
<v Speaker 1>a fascinating public figure. Uh. So I didn't know that

1:01:54.840 --> 1:01:58.200
<v Speaker 1>it was serious like that he really hated me. So

1:01:58.360 --> 1:02:01.800
<v Speaker 1>at this point in you've continued to make music, but

1:02:01.920 --> 1:02:05.480
<v Speaker 1>the peak of your success is nearly two decades back.

1:02:06.040 --> 1:02:09.360
<v Speaker 1>So what ignites you, what keeps you going? What do

1:02:09.400 --> 1:02:15.040
<v Speaker 1>you want to do now? Uh? The goal, I'm at

1:02:15.080 --> 1:02:18.360
<v Speaker 1>the risk of sounding too much like a vegan who

1:02:18.360 --> 1:02:21.680
<v Speaker 1>lives in Los Angeles who meditates. The goal is just like,

1:02:21.720 --> 1:02:25.400
<v Speaker 1>it's the pursuit of beauty. It's the idea that every

1:02:25.480 --> 1:02:28.640
<v Speaker 1>day when I go into my studio there's an opportunity

1:02:28.880 --> 1:02:31.880
<v Speaker 1>to make something beautiful. Not that I do, but it's

1:02:32.360 --> 1:02:38.400
<v Speaker 1>I've always admired the work ethic of like Flannery, O'Connor, Picasso, soldiers,

1:02:38.440 --> 1:02:41.520
<v Speaker 1>and like the people who just day in, day out worked,

1:02:42.160 --> 1:02:44.880
<v Speaker 1>you know, and you show up with the hope that

1:02:44.920 --> 1:02:48.320
<v Speaker 1>you'll be inspired and inspired in the old etymological sense

1:02:48.320 --> 1:02:50.880
<v Speaker 1>of inspired, to have like the breath of inspiration breathed

1:02:50.920 --> 1:02:54.720
<v Speaker 1>into And if I spend my entire life trying to

1:02:54.760 --> 1:02:57.320
<v Speaker 1>do that and it doesn't work out, at least I

1:02:57.400 --> 1:03:00.840
<v Speaker 1>loved the process of doing it. And do you make music?

1:03:00.920 --> 1:03:04.280
<v Speaker 1>How frequently? Every day without every day? But you don't

1:03:04.280 --> 1:03:07.240
<v Speaker 1>release all that music either about six or seven thousand

1:03:07.320 --> 1:03:10.040
<v Speaker 1>unreleased songs. And but we live in an era where

1:03:10.080 --> 1:03:12.400
<v Speaker 1>theoretically you could release that, except a lot of it's

1:03:12.440 --> 1:03:17.000
<v Speaker 1>not good. So what do you feel? How do you

1:03:17.040 --> 1:03:19.600
<v Speaker 1>feel about all the changes in the music business? You

1:03:19.640 --> 1:03:22.800
<v Speaker 1>know there are issues of music monetization, but it used

1:03:22.840 --> 1:03:25.640
<v Speaker 1>to be especially you know, you were like the tail

1:03:25.760 --> 1:03:27.760
<v Speaker 1>end of this with play. We lived on a monoculture

1:03:28.000 --> 1:03:30.760
<v Speaker 1>and if you were successful, everybody knew you. Whereas a

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<v Speaker 1>Vici dies, I'm getting emails saying I never heard one

1:03:33.080 --> 1:03:35.160
<v Speaker 1>of his songs, even though weak Me Up five years

1:03:35.160 --> 1:03:37.080
<v Speaker 1>ago was one of the biggest records of all time.

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<v Speaker 1>So what's it like being a musician in this era?

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<v Speaker 1>I mean to stomach, and I feel like I can't

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<v Speaker 1>speak to that experience, you know, because I'm fifty two

1:03:46.800 --> 1:03:49.440
<v Speaker 1>years old. I sold a lot of records a long

1:03:49.480 --> 1:03:53.840
<v Speaker 1>time ago. Um. So, like whenever I if I do

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<v Speaker 1>interviews and I talked about my opinions about the current

1:03:56.240 --> 1:04:00.440
<v Speaker 1>state of the music business, understandably, so will tend to

1:04:00.480 --> 1:04:04.480
<v Speaker 1>dismiss my opinion. They're like, I understand, I believe, we understand.

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<v Speaker 1>And what gets you off now other than making music?

1:04:10.080 --> 1:04:12.800
<v Speaker 1>What what turns you on? Uh? Well, so, But to

1:04:12.880 --> 1:04:17.240
<v Speaker 1>your question about the music business selfishly, personally, I love

1:04:17.400 --> 1:04:19.520
<v Speaker 1>the current state as the music business. I love how

1:04:19.560 --> 1:04:23.520
<v Speaker 1>egalitarian it is. Um. I love that anyone anywhere in

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<v Speaker 1>the world can make music and actually potentially have an

1:04:26.240 --> 1:04:32.480
<v Speaker 1>audience for it. UM, I don't love We'll think of

1:04:32.480 --> 1:04:35.520
<v Speaker 1>it like a qualitative gray goo. Do you remember the

1:04:35.560 --> 1:04:38.440
<v Speaker 1>concept of a gray goo? Don't know that at some

1:04:38.520 --> 1:04:41.480
<v Speaker 1>point automated technology would get to the point where like

1:04:41.520 --> 1:04:43.800
<v Speaker 1>just we're just spewing out stuff and the world would

1:04:43.840 --> 1:04:47.480
<v Speaker 1>be covered in gray goo. And I think musically we

1:04:47.600 --> 1:04:50.400
<v Speaker 1>sometimes are at risk of that we're like, it's very

1:04:50.440 --> 1:04:55.320
<v Speaker 1>easy to make okay music, you know, with Ableton without

1:04:55.320 --> 1:04:57.920
<v Speaker 1>and I love these software platforms. But it's easy to

1:04:58.000 --> 1:05:03.640
<v Speaker 1>make music that's pretty good. But what about imagine? You know,

1:05:03.680 --> 1:05:06.080
<v Speaker 1>what about Cat Stevens, what about the Rolling Stones? What

1:05:06.160 --> 1:05:10.960
<v Speaker 1>about like when music is transcendent? I I don't hear

1:05:11.000 --> 1:05:13.160
<v Speaker 1>that much of it. I know it's being made, but

1:05:13.240 --> 1:05:15.400
<v Speaker 1>I feel like I do miss when you had, like

1:05:15.480 --> 1:05:19.040
<v Speaker 1>professional musicians who would like when Leonard Collin would write

1:05:19.040 --> 1:05:21.360
<v Speaker 1>to Suzanne and it took him three years to write

1:05:21.360 --> 1:05:25.440
<v Speaker 1>that song. I missed that, you know that the transcendence.

1:05:25.760 --> 1:05:29.320
<v Speaker 1>But I also like how democratic and egalitarian, you know.

1:05:29.360 --> 1:05:30.920
<v Speaker 1>I like that you know, all the barriers are done,

1:05:30.960 --> 1:05:33.640
<v Speaker 1>everybody can play, but just as a fan, it's hard

1:05:33.680 --> 1:05:36.840
<v Speaker 1>to wait get through them. Morass, there's so much stuff.

1:05:36.840 --> 1:05:38.640
<v Speaker 1>I mean, you go on Spotify, listen to the Spotify

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<v Speaker 1>Top fifty, and then you know there's all the genres.

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<v Speaker 1>It's overwhelming. In any event, we've come to the end

1:05:44.440 --> 1:05:47.520
<v Speaker 1>of the feeling we've known, and I thank you all

1:05:47.560 --> 1:05:52.120
<v Speaker 1>for attending. Moby has been incredible. Very are unite intellectual

1:05:52.160 --> 1:05:54.680
<v Speaker 1>responses yourself. I could go on for another hour, but

1:05:54.720 --> 1:05:57.280
<v Speaker 1>they tell us our time is up once again. Mob.

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<v Speaker 1>That wraps up this week's episode of the Bob Left

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<v Speaker 1>Sets podcast, recorded live on the University of Southern California

1:06:10.400 --> 1:06:13.480
<v Speaker 1>campus at the l A Times Festival of Books. I

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<v Speaker 1>hope you enjoyed this fascinating conversation with Moby. As always,

1:06:17.560 --> 1:06:20.080
<v Speaker 1>I welcome your feedback. Email me at Bob at left

1:06:20.040 --> 1:06:23.800
<v Speaker 1>sets dot com. Until next time, It's Bob left Sez

1:06:34.760 --> 1:06:40.480
<v Speaker 1>think me reas don't know exactly