WEBVTT - John Doe & Exene Cervenka

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<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Left Steps podcast.

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<v Speaker 1>My guests today are John Doe and the que Jervenka

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<v Speaker 1>of the B and X, which just put out its

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<v Speaker 1>final album and is on its final tour. How did

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<v Speaker 1>the two of you meet?

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<v Speaker 2>We met at a writing workshop in Venice, California called

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<v Speaker 2>Beyond Baroque, and Beyond Brokes still has writing workshops. It

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<v Speaker 2>has the largest small press library and is a great

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<v Speaker 2>community service in Venice, California.

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<v Speaker 1>So why did you go to the writing workshop?

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<v Speaker 2>Because we're writers. I had a writing workshop in Baltimore.

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<v Speaker 2>It was part of a poetry series. I went to

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<v Speaker 2>school at Antioch College and Ecceine worked there, and I

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<v Speaker 2>thought this would be a place that I could meet

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<v Speaker 2>like minded people in LA. When I moved.

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<v Speaker 3>Were both living in Venice in nineteen seventy six, and

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<v Speaker 3>I got a job there, and so I lived upstairs

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<v Speaker 3>from the workshop and the library. I worked in the

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<v Speaker 3>library and stuff, and so I just I just ventured

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<v Speaker 3>down there one night to see if I could qualify

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<v Speaker 3>as a writer.

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<v Speaker 1>John, let's go back to Baltimore. What was it like

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<v Speaker 1>growing up in Baltimore?

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<v Speaker 2>It was great as a young adult, I mean it

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<v Speaker 2>was the same I moved there, and when was it?

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<v Speaker 2>Early mid sixties? But as a young adult I first

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<v Speaker 2>experienced a bohemian lifestyle in Fell's Point and was hanging

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<v Speaker 2>around with John Waters' crew because they would just going

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<v Speaker 2>to the same bars that I went into, and it

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<v Speaker 2>pointed the way to realize my dreams, except not in Baltimore.

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<v Speaker 1>Let's go back. So before you lived in Baltimore, you live.

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<v Speaker 2>Where Wisconsin, and before that in Tennessee and before that

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<v Speaker 2>in Illinois. Because my dad moved around.

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<v Speaker 1>And why did your dad move around?

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<v Speaker 2>Because he was a librarian and he wanted better jobs.

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<v Speaker 1>He was a librarian. What did your mother do?

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<v Speaker 2>She was school teacher? Well, she was a mom until

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<v Speaker 2>my brother and I were in school, and then she

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<v Speaker 2>became a school teacher and she became a school librarian.

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<v Speaker 2>So they were smart folks.

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<v Speaker 1>So who's older? You were? Your brother?

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<v Speaker 2>My brother?

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<v Speaker 1>And so what's he up to?

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<v Speaker 2>He's a builder, he's retired.

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<v Speaker 1>Okay, So your father was a librarian. Were you a

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<v Speaker 1>big weader growing up?

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<v Speaker 2>Not really, No, I wanted to be outside and do things.

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<v Speaker 2>They would bring home a stack of books for summer reading,

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<v Speaker 2>and they would sit on my dresser. I did read

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<v Speaker 2>Edgar Allan Poe sometime around the sixth or seventh grade.

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<v Speaker 1>And were you a good student? Bad student?

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<v Speaker 2>Pretty good? It was just about the same as what

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<v Speaker 2>I am now solid B.

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<v Speaker 1>You went to Antioch? Did you graduate?

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<v Speaker 2>Yeah? I quit school. I went to school for one

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<v Speaker 2>year in DC, and then I quit for a couple

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<v Speaker 2>of years, did construction, and then in Baltimore there was

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<v Speaker 2>a experimental theater that was called the Theater Project, and

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<v Speaker 2>I saw some performances there and thought they were pretty

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<v Speaker 2>outside and interesting, and then found out that Antioch had

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<v Speaker 2>a branch above a insurance company downtown Baltimore, and they

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<v Speaker 2>had a writing program, and I thought I'd been writing

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<v Speaker 2>and I wanted to be a better writer. So I

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<v Speaker 2>went back and yeah, I graduated.

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<v Speaker 1>And how'd you meet John Waters?

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<v Speaker 2>He was just hanging around and he was the biggest

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<v Speaker 2>celebrity in Baltimore at the time.

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<v Speaker 1>Okay, well, Pink Flamingos came out in seventy four, so

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<v Speaker 1>he had some movies before them, really like No Traction,

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<v Speaker 1>But in Baltimore everybody knew who he was.

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<v Speaker 2>Those two, those two others Mondo Trashow and Multiple Maniacs.

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<v Speaker 2>They had plenty of traction in Baltimore. There was a

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<v Speaker 2>there was a really heavy duty and not heavy duty.

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<v Speaker 2>There was a small but powerful bohemian underground art scene

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<v Speaker 2>in Baltimore. So everybody knew John Waters and New Divine

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<v Speaker 2>and knew although he didn't really hang out much, but

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<v Speaker 2>Edie did, and so did David Lockery and so did

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<v Speaker 2>Mary Vivian Pierce and Mixtole and all them.

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<v Speaker 1>And how did you decide he wanted to be a writer?

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<v Speaker 2>Oh? I don't know. I was playing music and people

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<v Speaker 2>wrote music along with just learning how to play.

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<v Speaker 1>And well, well, let's go back. When did you start

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<v Speaker 1>to play music?

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<v Speaker 2>Oh God, are we going to go back to my childhood?

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<v Speaker 2>And when I started working?

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<v Speaker 1>Absolutely no, I don't want to do that.

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<v Speaker 2>I might rather talk about the President of the future.

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<v Speaker 2>But I don't know. I played music because it seemed

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<v Speaker 2>like a cool thing. I mean, I'm at that age

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<v Speaker 2>when people saw the animals and the Beatles on ed

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<v Speaker 2>Sullivan and stuff like that.

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<v Speaker 1>And how'd you end up coming to California?

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<v Speaker 2>Because I didn't like the East Coast. I was tired

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<v Speaker 2>of the negative negativity and the weather. And I had

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<v Speaker 2>been to New York a few times saw the Talking

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<v Speaker 2>Heads and the Heartbreakers at Max's and CBGB's, and it

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<v Speaker 2>seems like that whole scene was great. But it was

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<v Speaker 2>pretty far down the road.

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<v Speaker 1>And you came to La. Where did you stay? How

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<v Speaker 1>much money did you bring? Hot? Would you get a job?

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<v Speaker 1>What'd you do?

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<v Speaker 2>I had a car, I brought some stuff, and I

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<v Speaker 2>lived in Venice with a friend, and I got a

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<v Speaker 2>job at Brentano's bookstore in Beverly Hills.

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<v Speaker 1>Okay, Excene, where are you from?

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<v Speaker 3>Well? I was born in Chicago, but when I was

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<v Speaker 3>a little, tiny infant, my family moved to rural Illinois,

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<v Speaker 3>so I grew up there.

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<v Speaker 1>And what did your parents do for a living?

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<v Speaker 3>My father had a very interesting life, but when I

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<v Speaker 3>was born, he was a carpenter and my mom stayed

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<v Speaker 3>home and lived in a very, very very small town.

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<v Speaker 3>And so my dad would go to work and I

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<v Speaker 3>would play in my Irish fama. I lived with us

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<v Speaker 3>until I was in about third grade.

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<v Speaker 1>And then when did you get influenced by music?

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<v Speaker 3>Listening to the car radio when I was very very little.

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<v Speaker 3>My favorite song growing up was Hello Mary Lou by

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<v Speaker 3>Ricky Nelson on the radio. I really loved that song.

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<v Speaker 3>But my big influence was well, of course, like John said,

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<v Speaker 3>you know, I was born in nineteen fifty six, so

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<v Speaker 3>I kind of missed the Halves Presley and the rockabilly stuff,

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<v Speaker 3>but I was there for like the Beatles, and then

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<v Speaker 3>of course the British invasion and the Doors and all

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<v Speaker 3>that stuff. So I was pretty mind blowing.

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<v Speaker 1>And then how did you end up coming to California?

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<v Speaker 3>Well, I was living in Florida, and I was kind

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<v Speaker 3>of at the end of the road as far as options,

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<v Speaker 3>and I was living in Tallahassee and nineteen seventy six,

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<v Speaker 3>which pretty dead end there for a freaky person like me.

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<v Speaker 3>And so somebody called me out of the blue and

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<v Speaker 3>said they were moving to California up San Francisco, and

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<v Speaker 3>did I want to go with him and give them

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<v Speaker 3>because they needed gas money. So I had two friends

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<v Speaker 3>out in southern California. I called one of them and

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<v Speaker 3>she said, sure, and you can come live with me.

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<v Speaker 3>And then she's the one that helped me find that

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<v Speaker 3>job at the ontt Earl where I met John. I

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<v Speaker 3>was only in Santa Monica there when I arrived for

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<v Speaker 3>a couple of weeks before I got that job, and

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<v Speaker 3>That was only a couple of weeks before I met

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<v Speaker 3>John right after that. It was really quick.

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<v Speaker 1>How did you end up in Tallahassee.

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<v Speaker 3>Well, I was living in Saint Pete and I had

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<v Speaker 3>a boyfriend and a job, and I was sixteen seventeen.

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<v Speaker 3>I was very, very happy. My parents had moved to

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<v Speaker 3>Central Florida. My other sister was living in Saint Pete,

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<v Speaker 3>my older sister, and then my mom got sick and

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<v Speaker 3>I had to move home because she died suddenly. And

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<v Speaker 3>I had to move into this small town of three

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<v Speaker 3>into people in central Florida and raised my little sisters

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<v Speaker 3>with my dad, which was not which was a faithless job.

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<v Speaker 3>And I did that for about a year and a half.

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<v Speaker 3>And then by the time then I moved back to

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<v Speaker 3>Saint pet But then everybody moved to New York and stuff,

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<v Speaker 3>so I just kind of went stayed with the friend

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<v Speaker 3>of Tallahassee. You know, when you're in your teens, you've

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<v Speaker 3>got this whole network of great people and artists like

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<v Speaker 3>job I was talking about, and everything's great, and then

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<v Speaker 3>everyone starts to move to different places and drift away,

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<v Speaker 3>and then you're just left behind. So Tallahassee was not

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<v Speaker 3>a good place for me, So I took the option

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<v Speaker 3>and I went to I rode in the car to

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<v Speaker 3>California with one hundred and fifty dollars. I sold my

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<v Speaker 3>nineteen fifty five zero Cadillac FI thre hundred dollars, paid

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<v Speaker 3>my back rent, got to California with about one hundred

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<v Speaker 3>and fifty dollars, got that job and immediately an apartment

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<v Speaker 3>at the same place I was working, met John and

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<v Speaker 3>started going to shows, and I was doing poetry and stuff.

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<v Speaker 1>So what was your school experience? Were you a good student,

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<v Speaker 1>bad student? Did you?

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<v Speaker 3>I went to a very small town Catholic school, and

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<v Speaker 3>I loved it because it was all there was in

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<v Speaker 3>my town, gravel Road, you know, there was to go

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<v Speaker 3>outside and play and go to school and go to church.

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<v Speaker 3>That was it. But then my family would Saint Pete

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<v Speaker 3>area when I was young, like fourteen.

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<v Speaker 4>I loved that.

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<v Speaker 3>But I quit high school on my sixteenth birthday. I

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<v Speaker 3>did not like Florida schools. I hadn't learned anything since

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<v Speaker 3>I moved down there. I didn't like the social thing.

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<v Speaker 3>You know, it was the sixties, early seventies. I didn't

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<v Speaker 3>need it.

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<v Speaker 1>I just quit, and you quit and then what'd you

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<v Speaker 1>do for money and where'd you live?

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<v Speaker 2>Well?

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<v Speaker 3>I just got a job back then, you know, you

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<v Speaker 3>just get a job in an apartment tomorrow and nobody

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<v Speaker 3>had any problems with police. So I like, now, yeah,

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<v Speaker 3>a minimum waste job in an apartment, just like that,

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<v Speaker 3>sixteen years old.

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<v Speaker 1>And was there any dream or were you just kind

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<v Speaker 1>of drifting taking it as it was.

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<v Speaker 3>I had a great boyfriend, a wonderful boyfriend, and I

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<v Speaker 3>wasn't sure what we were going to end up doing,

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<v Speaker 3>but it was really smart and creative, and I thought

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<v Speaker 3>we were going to get married and I was going

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<v Speaker 3>to do some art stuff and he was going to

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<v Speaker 3>work hard because he was that kind of great guy.

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<v Speaker 3>But then after my mom died, I realized maybe raising

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<v Speaker 3>kids wasn't for me, and maybe being married wasn't for me,

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<v Speaker 3>and I just wanted to escape my life. It's really bad,

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<v Speaker 3>and threw him over for no reason. And he's a

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<v Speaker 3>great guy and I totally regret that, and he knows that.

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<v Speaker 3>But I decided, you know, on a whim, to go

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<v Speaker 3>to California. If somebody called me and said they needed

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<v Speaker 3>guess money to Chicago, I had to go to Chicago.

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<v Speaker 1>Where's that guy today, I don't know.

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<v Speaker 3>I hate that question because you know, almost everybody's dad

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<v Speaker 3>that we know he might still be around. I don't know.

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<v Speaker 1>So you didn't look up, you know, when everybody appeared

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<v Speaker 1>on the internet.

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<v Speaker 3>I don't do Facebook or any that at the Internet

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<v Speaker 3>is very is very scary to me. I just try

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<v Speaker 3>to stay away from it as much as possible.

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<v Speaker 1>Do you have a smartphone?

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<v Speaker 3>I do have a smartphone, but I don't have any

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<v Speaker 3>social media or anything like that.

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<v Speaker 1>Okay, so when you get this job, do you have

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<v Speaker 1>any dreams of being a writer or that's just what

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<v Speaker 1>you're doing right then?

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<v Speaker 3>I'm a writer. But you know, see that's the thing.

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<v Speaker 3>It was so fun back then because you know, it

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<v Speaker 3>was after it was before AIDS, and it was the

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<v Speaker 3>gay time where everybody's like everyone was in self discovery.

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<v Speaker 3>Everybody in the underclasses or the weirdos were all together.

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<v Speaker 3>So whether it was music or being gay or being straight,

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<v Speaker 3>you know, whatever it was, we all kind of saw

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<v Speaker 3>each other as these really cool counterculture people were all

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<v Speaker 3>hanging out together and you know, smarter than the average

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<v Speaker 3>bear because we knew what was real and what was it.

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<v Speaker 3>And I was happy with that. I would have been

0:12:24.120 --> 0:12:26.600
<v Speaker 3>fine just being a writer and a poet. I never

0:12:26.679 --> 0:12:28.480
<v Speaker 3>had any dreams of being in a band. I love

0:12:28.559 --> 0:12:30.640
<v Speaker 3>the doors growing up, but I in Illinois. I never

0:12:30.640 --> 0:12:32.560
<v Speaker 3>would have thought i'd meet Raymond Zrek and get in

0:12:32.559 --> 0:12:35.800
<v Speaker 3>the band and all that. It just happened. It was

0:12:35.880 --> 0:12:38.680
<v Speaker 3>just an accident. And I had a song that I

0:12:38.720 --> 0:12:40.960
<v Speaker 3>wrote because I just decided to write a song one

0:12:41.000 --> 0:12:43.080
<v Speaker 3>day and I sang it to John. He wanted to

0:12:43.080 --> 0:12:45.040
<v Speaker 3>play it with Billy and I said, no, you can't

0:12:45.080 --> 0:12:47.480
<v Speaker 3>just take my song. It's all I have in this world.

0:12:48.040 --> 0:12:50.079
<v Speaker 3>He said, fine, then you sing it, and I said, okay,

0:12:50.080 --> 0:12:53.400
<v Speaker 3>then I will, which was kind of crazy since I'd

0:12:53.440 --> 0:12:55.520
<v Speaker 3>never sung a song besides that one in my life,

0:12:55.559 --> 0:12:58.160
<v Speaker 3>but I figured why not.

0:13:00.000 --> 0:13:02.559
<v Speaker 1>Hey, John, you talked about going to New York seeing

0:13:02.559 --> 0:13:06.200
<v Speaker 1>the Talking Heads. Were you aware of the Ramones and

0:13:06.280 --> 0:13:08.080
<v Speaker 1>the hard Ridge bands at that point?

0:13:09.000 --> 0:13:13.000
<v Speaker 2>Oh? Yeah, of course I was. Just my parents lived

0:13:13.040 --> 0:13:16.800
<v Speaker 2>in Brooklyn and the Talking Heads happened to play the

0:13:17.440 --> 0:13:20.440
<v Speaker 2>weekend that I went up there to visit them.

0:13:20.800 --> 0:13:25.240
<v Speaker 1>I see, so you came to LA. Did you plan

0:13:25.400 --> 0:13:27.560
<v Speaker 1>to form a band and try to make it? Was

0:13:27.559 --> 0:13:29.640
<v Speaker 1>that the plan? Oh?

0:13:29.720 --> 0:13:33.040
<v Speaker 2>I suppose I had a vision.

0:13:33.080 --> 0:13:33.559
<v Speaker 1>That I might.

0:13:35.520 --> 0:13:39.880
<v Speaker 2>I thought I could write songs. I had been out

0:13:39.880 --> 0:13:42.640
<v Speaker 2>there with a friend and he and I were kind

0:13:42.679 --> 0:13:46.800
<v Speaker 2>of a songwriting team. We wrote I don't know a

0:13:46.800 --> 0:13:51.200
<v Speaker 2>dozen or so songs back in Baltimore, and there was

0:13:51.240 --> 0:13:55.160
<v Speaker 2>some guy who we contacted and met with, and he

0:13:55.400 --> 0:13:58.240
<v Speaker 2>liked our demos and said he would he would buy

0:13:58.280 --> 0:14:02.720
<v Speaker 2>them for five hundred dollars apiece. And we thought, well,

0:14:02.720 --> 0:14:05.040
<v Speaker 2>if we could do that a couple of times in more,

0:14:06.840 --> 0:14:09.199
<v Speaker 2>if we could do that a few times a month,

0:14:09.280 --> 0:14:12.720
<v Speaker 2>then we'd we'd be okay. But I just knew I

0:14:12.760 --> 0:14:15.160
<v Speaker 2>had to get out of Baltimore and didn't want to

0:14:15.200 --> 0:14:20.080
<v Speaker 2>go to New York. And as soon as I walked

0:14:20.080 --> 0:14:22.640
<v Speaker 2>off the plane, walked out of the airport the first

0:14:22.680 --> 0:14:26.360
<v Speaker 2>time we went to LA, I just felt like it

0:14:26.400 --> 0:14:29.880
<v Speaker 2>was home or it was it was a place that

0:14:30.000 --> 0:14:36.680
<v Speaker 2>was exciting and intriguing. I think probably because of writers

0:14:36.720 --> 0:14:47.000
<v Speaker 2>like Charles Bukowski and Jim Thompson, you know, Raymond Chandler

0:14:47.720 --> 0:14:49.000
<v Speaker 2>movies and such.

0:14:50.160 --> 0:14:52.240
<v Speaker 1>How do you feel about LA fifty years later?

0:14:53.280 --> 0:14:55.760
<v Speaker 2>Oh, I haven't lived there in forever, so it's a

0:14:56.560 --> 0:14:59.840
<v Speaker 2>it's there's still a little bit of something there. It's

0:15:00.040 --> 0:15:04.320
<v Speaker 2>it's very very different. I like it. I wouldn't live there.

0:15:04.400 --> 0:15:07.320
<v Speaker 2>It's really hard to get around, it's hard to stay

0:15:07.360 --> 0:15:10.000
<v Speaker 2>connected to people that you know because people live on

0:15:10.480 --> 0:15:14.320
<v Speaker 2>different sides of town. But there's still something, there's still

0:15:14.360 --> 0:15:17.600
<v Speaker 2>some magic there. I suppose. I'm happy to be living

0:15:17.600 --> 0:15:20.720
<v Speaker 2>in Austin right now.

0:15:26.800 --> 0:15:28.720
<v Speaker 1>So how did you decide to leave LA? And when

0:15:28.800 --> 0:15:29.880
<v Speaker 1>did you leave La?

0:15:32.480 --> 0:15:37.280
<v Speaker 2>Left to LA when my wife at the time and

0:15:37.560 --> 0:15:42.600
<v Speaker 2>mother of my children and I had enough money to

0:15:42.960 --> 0:15:44.760
<v Speaker 2>buy a house, but not enough money to buy a

0:15:44.800 --> 0:15:47.520
<v Speaker 2>house in LA and we're kind of tired of it

0:15:47.560 --> 0:15:51.920
<v Speaker 2>and didn't want to raise kids in LA. So we

0:15:51.960 --> 0:15:55.000
<v Speaker 2>moved up into the mountains about seventy five miles north

0:15:55.040 --> 0:16:00.560
<v Speaker 2>of Los Angeles so I could commute pretty easily. Raised

0:16:00.600 --> 0:16:03.840
<v Speaker 2>three daughters for twenty years up there, and it was

0:16:04.800 --> 0:16:10.920
<v Speaker 2>pretty idyllic mountain, very physically challenging at times, a lot

0:16:10.960 --> 0:16:14.280
<v Speaker 2>of weather, snow and such, and that's exciting.

0:16:16.400 --> 0:16:18.400
<v Speaker 1>And what are your three daughters up to today?

0:16:19.320 --> 0:16:22.000
<v Speaker 2>They're all they all do things that they love. Ones

0:16:22.040 --> 0:16:25.080
<v Speaker 2>a choreographer and dancer. They all live in the Bay Area.

0:16:25.960 --> 0:16:33.040
<v Speaker 2>The other is a kind of high level producer, works

0:16:33.040 --> 0:16:36.600
<v Speaker 2>on big events like outside lands and things like that,

0:16:37.360 --> 0:16:41.440
<v Speaker 2>and the middle daughter is works in film. She's a

0:16:41.440 --> 0:16:45.840
<v Speaker 2>set designer and a production designer, so they none of

0:16:45.880 --> 0:16:48.800
<v Speaker 2>them have I'm very happy that none of them work

0:16:48.840 --> 0:16:52.040
<v Speaker 2>at a soulless job in a cubicle, so I feel

0:16:52.080 --> 0:16:55.360
<v Speaker 2>like that's a real success. Plus, we we love each

0:16:55.400 --> 0:16:58.640
<v Speaker 2>other and we're in contact, which sometimes doesn't happen.

0:16:59.800 --> 0:17:01.840
<v Speaker 1>So how'd you get from the Mountains to Austin?

0:17:03.120 --> 0:17:06.840
<v Speaker 2>Oh? I moved to Bakersfield when their mom and I

0:17:06.880 --> 0:17:10.600
<v Speaker 2>split up, and I moved to the Bay Area when

0:17:10.640 --> 0:17:16.840
<v Speaker 2>I met my beloved wife now and lived in We

0:17:16.880 --> 0:17:21.160
<v Speaker 2>lived in the Bay for about eight or nine years,

0:17:21.200 --> 0:17:24.399
<v Speaker 2>and she's originally from Texas. They have a lot of

0:17:24.400 --> 0:17:28.440
<v Speaker 2>friends here in Austin. I could buy a house in Austin,

0:17:28.520 --> 0:17:33.359
<v Speaker 2>and I thought I might be renting for forever. I

0:17:33.480 --> 0:17:38.600
<v Speaker 2>rented houses for about ten years or so, and then

0:17:40.480 --> 0:17:42.840
<v Speaker 2>talked to a friend and said I could I'm a realtor.

0:17:42.840 --> 0:17:44.399
<v Speaker 2>I could find a house for you to buy, and

0:17:44.800 --> 0:17:45.120
<v Speaker 2>we did.

0:17:47.160 --> 0:17:50.200
<v Speaker 1>So you have a whole career in Hollywood. Just being

0:17:50.280 --> 0:17:55.760
<v Speaker 1>in Austin hurt or affect acting opportunities and other opportunities.

0:17:57.240 --> 0:18:01.440
<v Speaker 2>Not really, I mean, I don't act unless someone offers

0:18:01.480 --> 0:18:05.199
<v Speaker 2>me a job or or sends me. I do an

0:18:05.240 --> 0:18:09.400
<v Speaker 2>audition now and then, but they're all they're all self tape. Nowadays,

0:18:09.480 --> 0:18:12.080
<v Speaker 2>you don't actually go into auditions. And there was a

0:18:12.080 --> 0:18:16.600
<v Speaker 2>point at which I don't know, twenty years ago, I

0:18:16.680 --> 0:18:20.440
<v Speaker 2>just stopped auditioning. I just said you, I've got a

0:18:20.520 --> 0:18:22.480
<v Speaker 2>huge catalog of film. If you want to see what

0:18:22.520 --> 0:18:25.040
<v Speaker 2>I can do, just take a look at that. If

0:18:25.040 --> 0:18:28.600
<v Speaker 2>it's something really serious, maybe I'll come in an audition.

0:18:28.720 --> 0:18:32.800
<v Speaker 2>But no, it doesn't hurt it, especially now all the

0:18:32.840 --> 0:18:34.760
<v Speaker 2>auditions are self tape. You just do it on your

0:18:34.760 --> 0:18:37.440
<v Speaker 2>iPhone and send it to somebody.

0:18:38.280 --> 0:18:41.040
<v Speaker 1>Why'd you move to Bakersfield And what was that like?

0:18:41.359 --> 0:18:44.240
<v Speaker 2>Because it was close to where my kids lived, and

0:18:44.280 --> 0:18:48.359
<v Speaker 2>Bakersfield was awesome. I mean it's apart from apart from

0:18:48.400 --> 0:18:53.920
<v Speaker 2>the racism, it's great. I should have written short stories there,

0:18:53.960 --> 0:18:57.440
<v Speaker 2>but I just soaked it up. I only lived there

0:18:57.440 --> 0:18:59.760
<v Speaker 2>for about two or three years.

0:19:01.320 --> 0:19:04.639
<v Speaker 1>And could you feel the Merle Haggard influence, you know?

0:19:04.800 --> 0:19:06.320
<v Speaker 1>Is that something you definitely?

0:19:06.440 --> 0:19:08.760
<v Speaker 2>Yeah. I lived in Oildale, which is where he lived.

0:19:10.080 --> 0:19:16.520
<v Speaker 2>And Oildale's a kind of mixed white and Latino, really

0:19:17.200 --> 0:19:19.480
<v Speaker 2>working class that still had a lot of hockey tonks

0:19:19.480 --> 0:19:21.840
<v Speaker 2>there when I lived there, so it was pretty fun.

0:19:23.080 --> 0:19:26.200
<v Speaker 1>Now in the time since you've lived in Austin, Boston

0:19:26.240 --> 0:19:30.200
<v Speaker 1>itself has changed. One of the changes you've noticed in Austin.

0:19:30.920 --> 0:19:32.520
<v Speaker 1>And how do you feel about those?

0:19:34.320 --> 0:19:34.639
<v Speaker 4>Oh?

0:19:34.640 --> 0:19:40.680
<v Speaker 2>Well, I think every every middle sized city has changed

0:19:42.240 --> 0:19:47.520
<v Speaker 2>markedly in the last five to ten years. Austin had

0:19:47.520 --> 0:19:50.920
<v Speaker 2>a huge influx of people during the pandemic, mostly through tech.

0:19:51.880 --> 0:19:59.680
<v Speaker 2>And I mean Austin has always had a venture capitalist startup.

0:20:00.680 --> 0:20:01.080
<v Speaker 1>Element.

0:20:01.160 --> 0:20:03.960
<v Speaker 2>There were friends of ours that moved here in the

0:20:04.000 --> 0:20:08.520
<v Speaker 2>early two thousands from San Francisco. So there's still plenty

0:20:08.560 --> 0:20:14.679
<v Speaker 2>of weird, cool stuff in Austin. But everything's changed. I

0:20:14.720 --> 0:20:19.919
<v Speaker 2>mean in Nashville and Portland, in Tulsa, I mean, you

0:20:20.040 --> 0:20:21.879
<v Speaker 2>name it.

0:20:21.160 --> 0:20:22.880
<v Speaker 1>So excene. Where do you live now?

0:20:24.040 --> 0:20:27.600
<v Speaker 3>I live in this cute little town called Orange. It's

0:20:27.600 --> 0:20:31.080
<v Speaker 3>in California. It's an old fashioned, little historic town.

0:20:32.440 --> 0:20:34.160
<v Speaker 1>This is in Orange County, right.

0:20:34.040 --> 0:20:36.560
<v Speaker 3>Correct, Inland, not by the beach.

0:20:37.359 --> 0:20:39.520
<v Speaker 1>And how did you end up there? Oh?

0:20:39.560 --> 0:20:42.199
<v Speaker 3>I did end up here. That's exactly what happened. I

0:20:42.280 --> 0:20:44.720
<v Speaker 3>ended up here, and that's very weird how that happened.

0:20:45.840 --> 0:20:48.000
<v Speaker 3>I just was living somewhere else when I came here

0:20:48.160 --> 0:20:51.080
<v Speaker 3>and I wasn't sure where to move, but Billy lives here,

0:20:51.240 --> 0:20:53.320
<v Speaker 3>so that was kind of a draw. It's just a

0:20:53.320 --> 0:20:55.320
<v Speaker 3>great place. I didn't even know what was here. I

0:20:55.320 --> 0:20:56.879
<v Speaker 3>would have moved here a long time ago. I've been

0:20:56.880 --> 0:21:00.399
<v Speaker 3>here fifteen years. It's kind of the town looking for

0:21:00.400 --> 0:21:02.359
<v Speaker 3>it to kind of got a Midwestern vibe a little

0:21:02.400 --> 0:21:03.480
<v Speaker 3>bit that I like it.

0:21:05.040 --> 0:21:08.960
<v Speaker 1>And John, how did you meet Billy Zoom?

0:21:09.200 --> 0:21:13.520
<v Speaker 2>Well, this is ancient history reported so many times. It

0:21:13.560 --> 0:21:18.639
<v Speaker 2>was in a paper, a newspaper called The Recycler, and

0:21:18.680 --> 0:21:21.840
<v Speaker 2>it came out every Thursday, and it was seventy five

0:21:21.920 --> 0:21:25.560
<v Speaker 2>cents and you could get you could rescue a kitten,

0:21:26.240 --> 0:21:29.240
<v Speaker 2>or you could buy a used refrigerator, or you could

0:21:29.240 --> 0:21:32.840
<v Speaker 2>find an apartment, or you could find a lead singer.

0:21:33.640 --> 0:21:36.760
<v Speaker 2>And Billy and I put ads in that paper. They

0:21:36.760 --> 0:21:40.760
<v Speaker 2>were free. The ads were free, and we put ads

0:21:41.040 --> 0:21:45.240
<v Speaker 2>that were similarly worded. The same week and I called

0:21:45.280 --> 0:21:47.760
<v Speaker 2>him and someone answered the I guess his girlfriend maybe

0:21:48.320 --> 0:21:51.480
<v Speaker 2>answered the phone and took down a message, and he

0:21:51.560 --> 0:21:54.040
<v Speaker 2>called me back. But we were kind of calling each

0:21:54.040 --> 0:21:55.040
<v Speaker 2>other at the same time.

0:21:56.480 --> 0:21:57.680
<v Speaker 1>And what did your ad say?

0:21:58.520 --> 0:22:01.879
<v Speaker 2>I have no idea, but I think I think the

0:22:02.200 --> 0:22:04.320
<v Speaker 2>fact that Ecsceine and I moved to LA around the

0:22:04.400 --> 0:22:08.480
<v Speaker 2>same time that DJ and Billy had been there playing,

0:22:09.160 --> 0:22:14.200
<v Speaker 2>and that we all got together wasn't just by chance.

0:22:15.240 --> 0:22:17.360
<v Speaker 2>I'm not sure what fate is, but I think that

0:22:17.400 --> 0:22:22.560
<v Speaker 2>there was a niche that needed to be filled or

0:22:22.600 --> 0:22:25.320
<v Speaker 2>wanted to be filled, and we were all there and

0:22:25.359 --> 0:22:29.320
<v Speaker 2>we filled it. And Billy brought rockabilly guitar playing into

0:22:29.320 --> 0:22:32.639
<v Speaker 2>punk rock and exscene, and I developed a style of

0:22:32.720 --> 0:22:38.240
<v Speaker 2>singing that nobody else did, and so and we had

0:22:38.240 --> 0:22:44.280
<v Speaker 2>a desire to write songs that chronicled what this punk

0:22:44.359 --> 0:22:46.760
<v Speaker 2>rock bohemian life was all about. And it wasn't just

0:22:47.640 --> 0:22:50.920
<v Speaker 2>I hate Ronald Reagan, and there was melodic and we're

0:22:51.000 --> 0:22:55.240
<v Speaker 2>very traditional. We write verses and choruses and sometimes there's

0:22:55.280 --> 0:22:59.760
<v Speaker 2>a bridge and and you can sing along. But we're

0:22:59.800 --> 0:23:03.680
<v Speaker 2>still old, not really ready for prime time because we're

0:23:03.760 --> 0:23:06.640
<v Speaker 2>just a little that much too weird, and we don't

0:23:06.640 --> 0:23:08.919
<v Speaker 2>sound like a disco song or we don't sound like

0:23:09.560 --> 0:23:15.159
<v Speaker 2>the Beatles or somebody that's more accessible or palatable for

0:23:16.040 --> 0:23:20.240
<v Speaker 2>like regular radio, unlike someone like the like Sonic Youth.

0:23:20.280 --> 0:23:23.880
<v Speaker 2>We're not just iconoclasts and just like this is our

0:23:24.000 --> 0:23:26.280
<v Speaker 2>thing and we're not going to budge. And you know,

0:23:26.920 --> 0:23:31.560
<v Speaker 2>from the very beginning we wrote very accessible songs.

0:23:32.840 --> 0:23:35.000
<v Speaker 1>And when you came to California you put the ad

0:23:35.000 --> 0:23:37.240
<v Speaker 1>in the recycler. Was that the dream to make it

0:23:37.280 --> 0:23:37.879
<v Speaker 1>as a band?

0:23:39.680 --> 0:23:44.520
<v Speaker 2>Oh, I don't know. I had a vision after seeing

0:23:44.520 --> 0:23:49.920
<v Speaker 2>the Heartbreakers and the and the Talking Heads, and having

0:23:49.960 --> 0:23:53.320
<v Speaker 2>seen a bunch of other local bands in Baltimore, and

0:23:53.359 --> 0:23:57.360
<v Speaker 2>then seeing people playing on the stage at the Whiskey

0:23:57.440 --> 0:24:00.679
<v Speaker 2>and the Star Would I had a vision that I

0:24:00.720 --> 0:24:04.879
<v Speaker 2>could do that. I saw myself, and once Billy and

0:24:04.960 --> 0:24:10.120
<v Speaker 2>Naccine and I were together, I saw ourselves on stage

0:24:10.280 --> 0:24:15.399
<v Speaker 2>doing that, and so I knew that could happen. I

0:24:15.480 --> 0:24:19.800
<v Speaker 2>knew that would happen, and it did. So everything beyond

0:24:19.840 --> 0:24:25.080
<v Speaker 2>that has been just good fortune and hard work and

0:24:27.359 --> 0:24:36.840
<v Speaker 2>really digging deep for creative variety and juices and always

0:24:36.880 --> 0:24:41.960
<v Speaker 2>looking for something to excite ourselves and be curious about

0:24:42.160 --> 0:24:45.240
<v Speaker 2>what's what's what's around the corner, that kind of thing.

0:24:46.840 --> 0:24:51.120
<v Speaker 1>And there was a huge punk scene in the lead

0:24:51.240 --> 0:24:55.080
<v Speaker 1>seventies in Los Angeles, the Mask and everything else. Did

0:24:55.119 --> 0:24:57.439
<v Speaker 1>you feel part of that or did you feel to

0:24:57.520 --> 0:24:58.280
<v Speaker 1>the side of that.

0:24:59.240 --> 0:25:01.119
<v Speaker 2>Oh, we're right in the middle of a bit, but

0:25:01.200 --> 0:25:05.119
<v Speaker 2>it was far from huge. It was about one hundred

0:25:05.160 --> 0:25:10.320
<v Speaker 2>and fifty or two hundred people from seventy six until

0:25:11.320 --> 0:25:16.520
<v Speaker 2>maybe the middle of seventy nine, and then maybe from

0:25:16.560 --> 0:25:20.280
<v Speaker 2>then to eighty three it got a lot bigger because

0:25:20.359 --> 0:25:23.520
<v Speaker 2>we had a lot of support from Slash Magazine and

0:25:23.560 --> 0:25:27.560
<v Speaker 2>some from the LA Times and the LA Reader and

0:25:27.600 --> 0:25:31.879
<v Speaker 2>the LA Weekly and things like that. So it became

0:25:31.960 --> 0:25:36.920
<v Speaker 2>a thing maybe in the in seventy nine, where everybody

0:25:36.960 --> 0:25:39.400
<v Speaker 2>was writing about it and talking about it, saying, there's

0:25:39.720 --> 0:25:41.200
<v Speaker 2>a lot of bands out there, and you're going to

0:25:41.280 --> 0:25:45.480
<v Speaker 2>find one that really agrees, just hits that spot for you,

0:25:45.640 --> 0:25:50.240
<v Speaker 2>hits that that sound, So just go find one. I

0:25:50.280 --> 0:25:52.720
<v Speaker 2>don't care what it is, go find it. If it's hardcore,

0:25:52.760 --> 0:25:55.760
<v Speaker 2>I mean, if it's harder, then you'll love fear, and

0:25:55.800 --> 0:25:59.800
<v Speaker 2>if it's more melodic, then you'll gravitate to the go

0:25:59.800 --> 0:26:02.080
<v Speaker 2>go of the alley Kats or whatever.

0:26:04.200 --> 0:26:06.480
<v Speaker 1>And was your goal to get a record deal?

0:26:08.600 --> 0:26:10.000
<v Speaker 2>Ex Do you want to answer that one?

0:26:10.040 --> 0:26:11.600
<v Speaker 3>Because I didn't have any goals.

0:26:13.480 --> 0:26:14.240
<v Speaker 1>Uh.

0:26:14.480 --> 0:26:18.280
<v Speaker 3>I think that we still had some contempt for the establishment.

0:26:19.880 --> 0:26:23.719
<v Speaker 4>You think, so, I know I had contempt for everything.

0:26:23.720 --> 0:26:27.679
<v Speaker 3>I was prat, but yeah, I don't know that there

0:26:27.760 --> 0:26:30.000
<v Speaker 3>was very much goals because there was just too much

0:26:30.080 --> 0:26:32.680
<v Speaker 3>going on in the moment. It was an excitement from

0:26:32.720 --> 0:26:35.160
<v Speaker 3>the time you woke up. We worked really hard though,

0:26:35.200 --> 0:26:39.479
<v Speaker 3>that's for sure. I don't know. I didn't take anything

0:26:39.600 --> 0:26:41.120
<v Speaker 3>seriously till much later.

0:26:41.600 --> 0:26:45.119
<v Speaker 2>I would say, I would say that, yes we did.

0:26:45.280 --> 0:26:53.159
<v Speaker 2>We we submitted professionally made demos with ray men Xeric's

0:26:53.200 --> 0:27:02.359
<v Speaker 2>influence and his validation to all the record companies, and

0:27:02.400 --> 0:27:07.440
<v Speaker 2>they turned us down. And so Slash Records. Bob Biggs,

0:27:07.480 --> 0:27:10.840
<v Speaker 2>bless his heart, just wanted to make music that he

0:27:10.880 --> 0:27:15.800
<v Speaker 2>thought was cool because he's an artist. It had nothing

0:27:15.840 --> 0:27:18.320
<v Speaker 2>to do with nothing to do with being part of

0:27:18.320 --> 0:27:22.919
<v Speaker 2>the establishment. And yeah, we had a lot of resentment

0:27:23.000 --> 0:27:26.200
<v Speaker 2>towards them because they were stuck in the past. And

0:27:26.280 --> 0:27:28.520
<v Speaker 2>I mean the go gos had to be signed by irs.

0:27:29.359 --> 0:27:38.080
<v Speaker 2>This is clearly like a capitalistic financial like Low Hanging Fruit.

0:27:39.080 --> 0:27:42.560
<v Speaker 2>They're cute girls that write their own songs and play

0:27:42.600 --> 0:27:46.320
<v Speaker 2>their own instruments and write really poppy songs. And oh,

0:27:46.440 --> 0:27:48.800
<v Speaker 2>I don't know about that. That's a little too weird

0:27:48.880 --> 0:27:54.040
<v Speaker 2>for me. They have dyed hair. Are you in the

0:27:54.080 --> 0:27:58.320
<v Speaker 2>business of finance or business of art?

0:28:00.760 --> 0:28:02.360
<v Speaker 1>So what were you surviving on?

0:28:05.119 --> 0:28:08.960
<v Speaker 3>Well, we had jobs. Yeah, and also like again, it

0:28:09.040 --> 0:28:11.000
<v Speaker 3>was what we had, three people living in a one

0:28:11.040 --> 0:28:14.280
<v Speaker 3>bedroom duplex. I don't know, maybe it was two hundred

0:28:14.280 --> 0:28:16.639
<v Speaker 3>to three hundred dollars a month. I don't know how

0:28:16.720 --> 0:28:18.919
<v Speaker 3>much money we made, but it wasn't much and it

0:28:18.960 --> 0:28:20.960
<v Speaker 3>didn't take much. You know, if you had a if again,

0:28:21.000 --> 0:28:23.640
<v Speaker 3>if you had a minimum wage job, two people could

0:28:23.640 --> 0:28:27.480
<v Speaker 3>live just fine. Yeah, we didn't have any expenses. I

0:28:27.520 --> 0:28:29.119
<v Speaker 3>didn't have a car. John had a car, but I

0:28:29.119 --> 0:28:31.719
<v Speaker 3>didn't have a car. None of us had insurance. We

0:28:31.800 --> 0:28:33.560
<v Speaker 3>might have had a wall phone, or we might have

0:28:33.640 --> 0:28:35.280
<v Speaker 3>shared a phone in the house we were living in.

0:28:35.720 --> 0:28:37.800
<v Speaker 3>But there was no computers or cell phones or cameras

0:28:37.880 --> 0:28:40.160
<v Speaker 3>or any I mean, we didn't even have seat belts.

0:28:40.480 --> 0:28:42.520
<v Speaker 3>There was nothing to buy. There was nothing to do.

0:28:42.960 --> 0:28:44.800
<v Speaker 3>You could get your tire at the at the pawn

0:28:44.840 --> 0:28:46.080
<v Speaker 3>shot for fifty dollars.

0:28:46.160 --> 0:28:46.400
<v Speaker 4>You know.

0:28:47.880 --> 0:28:51.520
<v Speaker 3>Gas was cheap, beer was cheap. Life was cheap and fun.

0:28:51.600 --> 0:28:54.480
<v Speaker 3>We were young. We didn't care. Everything was provided, you know,

0:28:54.480 --> 0:28:55.760
<v Speaker 3>it was landed, milk and honey.

0:28:56.160 --> 0:29:01.600
<v Speaker 2>We had. We had jobs up until probably nineteen seventy nine.

0:29:03.040 --> 0:29:05.160
<v Speaker 3>I was still working when Los Angeles came out, I

0:29:05.160 --> 0:29:08.680
<v Speaker 3>was working for a record collector, and I've had jobs

0:29:08.720 --> 0:29:10.640
<v Speaker 3>off and on up until the pandemic because I just

0:29:10.720 --> 0:29:13.520
<v Speaker 3>like to work. And I've always had to like supplement

0:29:13.600 --> 0:29:16.600
<v Speaker 3>my income because I'm very you know, I'm just very

0:29:16.640 --> 0:29:21.320
<v Speaker 3>hard working. But yeah, jobs, jobs are just jobs, you know,

0:29:21.480 --> 0:29:24.920
<v Speaker 3>And I respect people to have any kind of job,

0:29:24.960 --> 0:29:25.880
<v Speaker 3>because it's hard.

0:29:27.360 --> 0:29:30.400
<v Speaker 1>Well, if you're ex scene and someone encounters you working

0:29:30.440 --> 0:29:34.920
<v Speaker 1>a job that is not playing music, do they say like, hey,

0:29:34.920 --> 0:29:36.080
<v Speaker 1>what are you doing here?

0:29:37.800 --> 0:29:39.640
<v Speaker 3>Well, they say that all the time to people when

0:29:39.680 --> 0:29:42.320
<v Speaker 3>you're at the laundromat or something, right like, oh my gosh, John,

0:29:42.400 --> 0:29:44.000
<v Speaker 3>I've seen what are you doing at the launder mat?

0:29:44.080 --> 0:29:46.120
<v Speaker 3>It's like, well, we got these clothes that we have

0:29:46.160 --> 0:29:50.400
<v Speaker 3>to wash, you know. It's just people have these people

0:29:50.400 --> 0:29:52.160
<v Speaker 3>have odd ideas about when you're in a band, that

0:29:52.200 --> 0:29:55.280
<v Speaker 3>you're like super super like rich and you have a

0:29:55.320 --> 0:29:58.360
<v Speaker 3>private jet and stuff, and or that you're really like

0:29:58.440 --> 0:29:59.880
<v Speaker 3>down and dirty and you all live in this house

0:30:00.120 --> 0:30:02.040
<v Speaker 3>do drugs. But there's somewhere in the middle is just

0:30:02.080 --> 0:30:06.040
<v Speaker 3>this regular person getting by and making a living. And

0:30:06.960 --> 0:30:09.640
<v Speaker 3>I don't know, I never thought of myself as a

0:30:09.680 --> 0:30:11.600
<v Speaker 3>rock star. I don't even I just think of myself

0:30:11.640 --> 0:30:20.000
<v Speaker 3>as a person, so I find it humorous.

0:30:22.960 --> 0:30:25.960
<v Speaker 1>What degree when you're out and about are you recognized?

0:30:27.000 --> 0:30:30.200
<v Speaker 3>I wouldn't know. I don't pay attention. Sometimes people come

0:30:30.240 --> 0:30:32.440
<v Speaker 3>up to me and say hey, scene. I go hey,

0:30:32.560 --> 0:30:34.320
<v Speaker 3>they go, hey, I saw you guys play recently. It

0:30:34.360 --> 0:30:37.600
<v Speaker 3>was amazing. Thank you my wife and Arabic fans, Well,

0:30:37.600 --> 0:30:39.760
<v Speaker 3>that's great. What's your wife's name? But how nice to

0:30:39.760 --> 0:30:43.560
<v Speaker 3>meet you. What do you guys do? Oh blah blah blah.

0:30:43.560 --> 0:30:45.080
<v Speaker 3>I'm just a teacher, Just a teacher.

0:30:45.120 --> 0:30:45.880
<v Speaker 4>What are you talking about.

0:30:45.920 --> 0:30:47.520
<v Speaker 3>That's the hardest job in the world. I used to

0:30:47.600 --> 0:30:50.520
<v Speaker 3>do that job, you know what I mean? Like, people

0:30:50.560 --> 0:30:52.960
<v Speaker 3>are just people and they like what you do. And yes,

0:30:53.000 --> 0:30:55.680
<v Speaker 3>people do kind of project things onto you because you're

0:30:55.680 --> 0:30:57.360
<v Speaker 3>in a band, but really it's just another thing to

0:30:57.400 --> 0:31:00.440
<v Speaker 3>do in life, like anything else. But I don't pay

0:31:00.520 --> 0:31:02.760
<v Speaker 3>much attention to that. I'm just always been the same

0:31:02.800 --> 0:31:05.760
<v Speaker 3>way since the early days, which is I assume everybody's

0:31:05.800 --> 0:31:09.360
<v Speaker 3>good and they are. Ninety five percent of the people

0:31:09.360 --> 0:31:11.200
<v Speaker 3>I've met in my life have just been wonderful. And

0:31:11.240 --> 0:31:13.960
<v Speaker 3>I've met a lot of ex fans and a lot

0:31:13.960 --> 0:31:16.640
<v Speaker 3>of people at shows, and stuff, and they're almost always

0:31:16.680 --> 0:31:17.400
<v Speaker 3>just great people.

0:31:18.480 --> 0:31:21.280
<v Speaker 1>Well, you keep reinforcing the point that in the old

0:31:21.360 --> 0:31:23.880
<v Speaker 1>days you could get a minimum wage job and pay

0:31:24.000 --> 0:31:28.120
<v Speaker 1>all your bills, which was true. Yeah, today's totally different.

0:31:28.160 --> 0:31:29.320
<v Speaker 1>What do you think about today?

0:31:31.480 --> 0:31:36.640
<v Speaker 3>I think I think that it's it's by degrees that

0:31:36.720 --> 0:31:38.320
<v Speaker 3>people have gotten to where we are where they just

0:31:38.400 --> 0:31:40.240
<v Speaker 3>kind of accept more and more and more and more

0:31:40.320 --> 0:31:43.040
<v Speaker 3>of things being hard, And I think that's very unfortunate.

0:31:43.680 --> 0:31:46.720
<v Speaker 3>I kind of live for the day when things get

0:31:46.840 --> 0:31:50.440
<v Speaker 3>somewhat saying again or saying at all. But you know,

0:31:50.760 --> 0:31:53.680
<v Speaker 3>I think also people look back at different times and

0:31:53.720 --> 0:31:57.440
<v Speaker 3>they see it more idyllically and more romanticized. But it

0:31:57.480 --> 0:32:00.960
<v Speaker 3>really was a little bit easier and more well, definitely

0:32:01.000 --> 0:32:04.480
<v Speaker 3>there was more freedom. That's that's unbelievably true.

0:32:04.640 --> 0:32:08.880
<v Speaker 2>But I think I'm sorry to interrupt, but go ahead.

0:32:09.800 --> 0:32:11.960
<v Speaker 3>Well, I was just going to say, like, the one

0:32:11.960 --> 0:32:15.120
<v Speaker 3>thing about technology is it's exposed. It's it's it's a

0:32:15.120 --> 0:32:17.720
<v Speaker 3>great way for people to be exposed to historical movements

0:32:17.720 --> 0:32:19.840
<v Speaker 3>and cultures and music and writing that they never would

0:32:19.840 --> 0:32:23.080
<v Speaker 3>have found out about because somebody that by seventy eights

0:32:23.080 --> 0:32:24.960
<v Speaker 3>and just plays them for their friends can now put

0:32:24.960 --> 0:32:27.760
<v Speaker 3>them online and play them for everybody kind of doing

0:32:27.800 --> 0:32:30.520
<v Speaker 3>what you're doing. And we didn't have that. We just

0:32:30.560 --> 0:32:32.280
<v Speaker 3>had to have word of mouth. You had to get

0:32:32.280 --> 0:32:33.520
<v Speaker 3>in the car and go somewhere, and you had to

0:32:33.520 --> 0:32:37.120
<v Speaker 3>hope you met somebody, and you didn't even have a phone.

0:32:37.240 --> 0:32:39.080
<v Speaker 3>You just had to show up at somebody's house and say, hey,

0:32:39.080 --> 0:32:40.440
<v Speaker 3>do you have that new record? I really want to

0:32:40.440 --> 0:32:43.120
<v Speaker 3>hear it. I heard you have it, so you know,

0:32:43.200 --> 0:32:45.080
<v Speaker 3>I mean, there's always a trade off. I don't know

0:32:45.080 --> 0:32:47.280
<v Speaker 3>what people what it's like for young people now, but

0:32:47.440 --> 0:32:49.640
<v Speaker 3>they'll be okay. I think, I hope.

0:32:50.280 --> 0:32:57.560
<v Speaker 2>I think that people survive. I'm not the That's the mysterious,

0:32:57.680 --> 0:33:02.320
<v Speaker 2>mysterious and wonderful part of the human experiment is that

0:33:02.400 --> 0:33:07.080
<v Speaker 2>somehow people survived. Whether it's now we live in the

0:33:07.080 --> 0:33:14.880
<v Speaker 2>most fortunate of circumstances because there's not a war and

0:33:15.160 --> 0:33:17.760
<v Speaker 2>that we're part of you know, that that is on

0:33:17.800 --> 0:33:19.800
<v Speaker 2>our land and all that kind of thing.

0:33:19.880 --> 0:33:24.200
<v Speaker 3>So yeah, well, people had it harder at certain times.

0:33:24.280 --> 0:33:25.840
<v Speaker 3>I mean, I think during World War two and euro

0:33:25.880 --> 0:33:29.200
<v Speaker 3>upe to was a little harder. Yeah, but you know,

0:33:29.280 --> 0:33:31.680
<v Speaker 3>I mean, you know, hard times make you know, week

0:33:31.760 --> 0:33:33.080
<v Speaker 3>and week makes hard and all.

0:33:32.920 --> 0:33:37.120
<v Speaker 1>That well, John, you know, Austin had a reputation for

0:33:37.240 --> 0:33:40.800
<v Speaker 1>being very weird, but Texas is sort of the flag

0:33:40.840 --> 0:33:43.520
<v Speaker 1>bearer for the right wing movement at this point in time.

0:33:44.000 --> 0:33:49.760
<v Speaker 1>Companies are moving there from California, Tesla Chevron just recently.

0:33:50.880 --> 0:33:53.320
<v Speaker 1>Can is that palpable living in Texas?

0:33:54.280 --> 0:33:58.160
<v Speaker 2>Well? I just I mean I live in Austin, which

0:33:58.240 --> 0:34:05.960
<v Speaker 2>is the blue bear and the tomato soup. If I

0:34:06.000 --> 0:34:09.719
<v Speaker 2>lived in Bakersfield, if people don't live in a if

0:34:09.760 --> 0:34:13.440
<v Speaker 2>you go outside of a major city fifty miles, you're

0:34:13.440 --> 0:34:16.000
<v Speaker 2>going to find a very different landscape. But I think

0:34:16.000 --> 0:34:20.399
<v Speaker 2>it's important for people to have respect for and talk

0:34:20.520 --> 0:34:27.520
<v Speaker 2>to people with different opinions. I don't know, I mean,

0:34:27.600 --> 0:34:32.479
<v Speaker 2>Tesla is a is a very thorny issue here because

0:34:32.520 --> 0:34:38.279
<v Speaker 2>they've built their plant ignoring all of the EPA, all

0:34:38.320 --> 0:34:41.600
<v Speaker 2>of the building standards and just pay fines for it.

0:34:43.600 --> 0:34:47.640
<v Speaker 2>So yeah, there's jobs, but it's a you know that

0:34:47.640 --> 0:34:51.279
<v Speaker 2>that guy is just flaunts everything and says, well, I'll

0:34:51.320 --> 0:34:53.520
<v Speaker 2>just buy my way out of it, and people do

0:34:53.600 --> 0:34:58.000
<v Speaker 2>that everywhere, which is unfortunate. They know that they're taking water,

0:34:58.040 --> 0:35:01.200
<v Speaker 2>they're know that they're polluting things, and they're just willing

0:35:01.239 --> 0:35:03.000
<v Speaker 2>to pay the fine because they don't give a shit,

0:35:04.239 --> 0:35:09.120
<v Speaker 2>which is really unfortunate. But we'll see if Texas becomes

0:35:09.160 --> 0:35:12.719
<v Speaker 2>a purple state or not. But like I said, go

0:35:12.800 --> 0:35:17.839
<v Speaker 2>to Stockton, Go go out into New Jersey, go you know,

0:35:17.920 --> 0:35:21.640
<v Speaker 2>anywhere seventy five miles outside of a city, and you're

0:35:21.640 --> 0:35:24.319
<v Speaker 2>going to have a lot more provincial attitudes.

0:35:25.840 --> 0:35:29.279
<v Speaker 1>Well, we really have today and US versus them philosophy.

0:35:29.360 --> 0:35:34.600
<v Speaker 1>On both sides. We have the rural people demonizing the cities,

0:35:35.320 --> 0:35:38.520
<v Speaker 1>and then you have the so called elites believing they

0:35:38.640 --> 0:35:42.200
<v Speaker 1>know you know. It seems that there's a constant divergence.

0:35:42.560 --> 0:35:44.360
<v Speaker 2>Well I don't want to I don't really want to

0:35:44.360 --> 0:35:46.399
<v Speaker 2>get into politics. I don't think that's our job.

0:35:48.239 --> 0:35:52.000
<v Speaker 1>Well, let me say, as opposed to politics, like taking

0:35:52.040 --> 0:35:55.040
<v Speaker 1>one side or another, what do you think the future

0:35:55.080 --> 0:35:55.920
<v Speaker 1>of America is?

0:35:58.000 --> 0:36:01.120
<v Speaker 2>I I don't know. We'll find out in November.

0:36:03.800 --> 0:36:04.760
<v Speaker 1>How about you exceed.

0:36:06.160 --> 0:36:07.960
<v Speaker 3>I think the future has been planned out by those

0:36:07.960 --> 0:36:10.600
<v Speaker 3>who engineer it for quite some time now, and it's

0:36:10.840 --> 0:36:15.239
<v Speaker 3>whether or not. It's like the look of the draw,

0:36:15.360 --> 0:36:17.200
<v Speaker 3>like with COVID, how it got dumbed down to this

0:36:17.320 --> 0:36:20.560
<v Speaker 3>respiratory disease that suddenly didn't kill people anymore when it mutated.

0:36:21.120 --> 0:36:23.520
<v Speaker 3>We just don't know what happens in the future. Little

0:36:23.560 --> 0:36:27.640
<v Speaker 3>things can change the world, you know, and little tiny

0:36:27.680 --> 0:36:31.080
<v Speaker 3>things that people don't even people that have all the power,

0:36:31.480 --> 0:36:35.040
<v Speaker 3>like the global kind of people, they make mistakes too,

0:36:35.239 --> 0:36:38.319
<v Speaker 3>and and weird things happen that throw things off base.

0:36:38.360 --> 0:36:41.120
<v Speaker 3>I mean, there could be you know, there's there's definitely

0:36:41.160 --> 0:36:44.840
<v Speaker 3>a magnetic change going on in the universe. You know,

0:36:44.880 --> 0:36:47.560
<v Speaker 3>there's definitely like some weird ships going on that are

0:36:47.600 --> 0:36:51.200
<v Speaker 3>cyclical with you know, where we are where Earth is

0:36:51.280 --> 0:36:54.520
<v Speaker 3>right now, and people don't seem to be aware of that,

0:36:54.640 --> 0:36:56.640
<v Speaker 3>so you know, things can happen. There could be a

0:36:56.680 --> 0:37:00.360
<v Speaker 3>major volcanic eruption the cauld blot out the sun, you know,

0:37:00.440 --> 0:37:03.320
<v Speaker 3>and make put us into this deep winter, and people

0:37:03.320 --> 0:37:05.399
<v Speaker 3>could starve. Who knows what's going to happen. I hope

0:37:05.400 --> 0:37:08.920
<v Speaker 3>it's all positive things that happened. But I do know

0:37:08.960 --> 0:37:10.879
<v Speaker 3>that I'm only in charge of what I do every day,

0:37:11.040 --> 0:37:13.200
<v Speaker 3>and the only thing I'm I have control over my

0:37:13.239 --> 0:37:15.799
<v Speaker 3>thoughts and my actions, and I try to keep those

0:37:15.800 --> 0:37:18.160
<v Speaker 3>as simple and as and as good for all as

0:37:18.200 --> 0:37:22.160
<v Speaker 3>possible and live live life is like that way. Like

0:37:22.200 --> 0:37:23.719
<v Speaker 3>today I'm going to do this and this is what's

0:37:23.719 --> 0:37:25.640
<v Speaker 3>going to happen. I'm gonna do these things for other people.

0:37:25.680 --> 0:37:27.759
<v Speaker 3>I'm going to do this for myself, and I'm going

0:37:27.840 --> 0:37:30.840
<v Speaker 3>to be as positive as possible. It's very hard sometimes,

0:37:30.840 --> 0:37:32.960
<v Speaker 3>but if you do that, everything else is fine.

0:37:34.360 --> 0:37:36.799
<v Speaker 4>I agree, because only have control.

0:37:36.520 --> 0:37:38.920
<v Speaker 3>Over I don't have control over what all these people

0:37:39.080 --> 0:37:42.040
<v Speaker 3>are going to do to humanity. I hope they don't

0:37:42.080 --> 0:37:44.160
<v Speaker 3>destroy it, but you know, I can't control it.

0:37:45.360 --> 0:37:47.160
<v Speaker 1>Yeah, But we grew up in an era where the

0:37:47.840 --> 0:37:52.000
<v Speaker 1>musicians were revered as rich as anybody else in America,

0:37:52.560 --> 0:37:56.279
<v Speaker 1>and what they said had meaning, whereas needless to say,

0:37:56.920 --> 0:38:00.120
<v Speaker 1>mainstream musicians that is not the case today.

0:38:00.719 --> 0:38:03.080
<v Speaker 3>Well you can't say what you think anymore. We had

0:38:03.120 --> 0:38:06.080
<v Speaker 3>freedom of speech and critical thinking. I used to say

0:38:06.120 --> 0:38:08.759
<v Speaker 3>the worst, stupidest stuff. Not that it was like, you know,

0:38:08.920 --> 0:38:11.000
<v Speaker 3>bad necessarily, but it was just I was very young

0:38:11.000 --> 0:38:13.000
<v Speaker 3>and opinionated. I didn't have the world of view I

0:38:13.000 --> 0:38:15.279
<v Speaker 3>had now, but I knew a lot of stuff. And

0:38:15.320 --> 0:38:17.880
<v Speaker 3>if I said something, or anybody else said something in

0:38:17.960 --> 0:38:20.000
<v Speaker 3>a group of like punk or artists, because it was

0:38:20.040 --> 0:38:22.480
<v Speaker 3>all kinds of people in the punk'sying old young European

0:38:22.520 --> 0:38:26.799
<v Speaker 3>American Mexican everybody was there. You would just hear your

0:38:26.840 --> 0:38:28.520
<v Speaker 3>words to get thrown right back in your face, like

0:38:28.560 --> 0:38:30.520
<v Speaker 3>that's stupid. Why do you think that you could get

0:38:30.520 --> 0:38:32.640
<v Speaker 3>in arguments with people and then go have a beer

0:38:34.440 --> 0:38:37.680
<v Speaker 3>Because it wasn't about you know, like we understood context,

0:38:38.880 --> 0:38:41.360
<v Speaker 3>and we also knew that if you can if you

0:38:41.360 --> 0:38:43.920
<v Speaker 3>can throw your ideas out there and have somebody shoot

0:38:43.960 --> 0:38:46.759
<v Speaker 3>them down, you've just learned something. You don't know if

0:38:46.800 --> 0:38:48.600
<v Speaker 3>you're right, if you can't admit you're wrong. And I

0:38:48.800 --> 0:38:50.680
<v Speaker 3>had to admit I was wrong so many times, and

0:38:50.719 --> 0:38:52.640
<v Speaker 3>I also made other people say look at things the

0:38:52.680 --> 0:38:55.520
<v Speaker 3>different way. But my job isn't to change people's minds.

0:38:55.640 --> 0:38:57.640
<v Speaker 3>My job is just to try to figure it out.

0:38:58.160 --> 0:38:59.960
<v Speaker 3>And I think I do have a really great understand

0:39:00.080 --> 0:39:03.240
<v Speaker 3>ending of life in general and the systems that control

0:39:03.320 --> 0:39:08.080
<v Speaker 3>things and whatnot. But have that I also realized that,

0:39:08.200 --> 0:39:10.439
<v Speaker 3>you know, we were just people, just like anyone else

0:39:10.480 --> 0:39:12.080
<v Speaker 3>with opinions. Just because we were in a bandit and

0:39:12.080 --> 0:39:16.560
<v Speaker 3>make us smarter necessarily, I'm not.

0:39:16.520 --> 0:39:18.840
<v Speaker 1>Sure that is true. Usually the people with the bands

0:39:19.239 --> 0:39:23.439
<v Speaker 1>were more thinkers. They lived in an alternative lifestyle. They were

0:39:23.480 --> 0:39:27.840
<v Speaker 1>not part of the mind hive of the day. Meanwhile, Exeene,

0:39:27.880 --> 0:39:29.560
<v Speaker 1>you only have you have one son? Do you have

0:39:29.600 --> 0:39:30.360
<v Speaker 1>any other children?

0:39:30.480 --> 0:39:32.640
<v Speaker 4>They have one son, and what is he up to?

0:39:33.480 --> 0:39:35.520
<v Speaker 3>He's a great guy. I love my son so much.

0:39:35.680 --> 0:39:38.279
<v Speaker 3>He did a documentary on the spand skating polyeu This

0:39:38.320 --> 0:39:41.719
<v Speaker 3>Oklahoma sisters started to spand million years ago and they're

0:39:41.719 --> 0:39:44.920
<v Speaker 3>still kids, and he did a documentary on that. He's

0:39:44.920 --> 0:39:47.359
<v Speaker 3>a big martial arts guy. And he does a lot

0:39:47.360 --> 0:39:49.680
<v Speaker 3>of other creative things. He works with his dad doing

0:39:50.560 --> 0:39:53.160
<v Speaker 3>a publishing company called Percival Press that does books and

0:39:53.239 --> 0:39:59.239
<v Speaker 3>music and movies. He does some acting. He's a good

0:39:59.320 --> 0:40:00.880
<v Speaker 3>human being. That is what he is.

0:40:03.680 --> 0:40:05.920
<v Speaker 1>Okay. And what do the two of you think about

0:40:05.960 --> 0:40:10.160
<v Speaker 1>our generation, which stopped the war was greedy when Reagan

0:40:10.239 --> 0:40:13.960
<v Speaker 1>dropped the tax rate. Do you believe, because we're accused

0:40:14.000 --> 0:40:16.920
<v Speaker 1>a lot by younger generations, we fucked up the world?

0:40:16.960 --> 0:40:20.080
<v Speaker 1>Do you believe that I mentions of that.

0:40:20.120 --> 0:40:24.240
<v Speaker 3>Here and there. I think that's the job of young people,

0:40:24.280 --> 0:40:26.080
<v Speaker 3>isn't it. That was my job when I was young.

0:40:26.239 --> 0:40:28.600
<v Speaker 3>I got to yell at everybody and point fingers and

0:40:28.600 --> 0:40:30.560
<v Speaker 3>everybody and tell them how wrong they were about things,

0:40:30.600 --> 0:40:34.879
<v Speaker 3>and how like all their wars and taxes and everything had,

0:40:35.040 --> 0:40:38.520
<v Speaker 3>you know, ruined the world. I think there's validity in

0:40:39.000 --> 0:40:42.239
<v Speaker 3>doing that, But I also think that that that's a

0:40:42.280 --> 0:40:44.280
<v Speaker 3>real good tactic by the people that are in power

0:40:44.320 --> 0:40:45.919
<v Speaker 3>to make us hate each other and blame each other

0:40:45.920 --> 0:40:48.560
<v Speaker 3>for things that we didn't do. I think we're squarely

0:40:48.560 --> 0:40:50.480
<v Speaker 3>in the middle of that, with the left right paradigm

0:40:50.480 --> 0:40:52.640
<v Speaker 3>and all that other stuff. It's like, you, guys, you

0:40:52.719 --> 0:40:55.040
<v Speaker 3>have to realize that everyone's going to be a victim

0:40:55.080 --> 0:40:57.600
<v Speaker 3>here pretty darn soon unless we all stopped doing this.

0:40:57.840 --> 0:41:00.680
<v Speaker 3>Let's try to act intelligent. But I think the dumbing

0:41:00.719 --> 0:41:04.000
<v Speaker 3>down has has reached a certain level, so it might

0:41:04.080 --> 0:41:08.920
<v Speaker 3>not be possible to fix it. But I don't know

0:41:08.960 --> 0:41:09.480
<v Speaker 3>the future.

0:41:11.840 --> 0:41:16.760
<v Speaker 1>What do you say to people that, hey, this reunion

0:41:17.920 --> 0:41:22.560
<v Speaker 1>and previous reunion, that this is really just about cash.

0:41:22.800 --> 0:41:25.200
<v Speaker 3>No, we said, we've been playing together since nineteen ninety eight,

0:41:25.239 --> 0:41:28.680
<v Speaker 3>touring constantly, so it's not any kind of reunion. But

0:41:28.760 --> 0:41:30.920
<v Speaker 3>I don't know where that comes from. We did a

0:41:30.920 --> 0:41:33.759
<v Speaker 3>record right for COVID and that came out. I mean,

0:41:33.800 --> 0:41:36.960
<v Speaker 3>we're a band. That's what bands play. Bands play music,

0:41:37.040 --> 0:41:39.759
<v Speaker 3>They go on tour and they make records. They hang out.

0:41:39.760 --> 0:41:41.799
<v Speaker 3>It's very hard to hang out with people for forty five,

0:41:41.840 --> 0:41:44.319
<v Speaker 3>forty eight years. I guess we like what we do.

0:41:44.400 --> 0:41:46.960
<v Speaker 3>But yeah, everybody makes I think that everybody makes a

0:41:46.960 --> 0:41:49.160
<v Speaker 3>living unless they're living on the streets and they're homeless,

0:41:49.160 --> 0:41:50.120
<v Speaker 3>which is unfortunate.

0:41:51.760 --> 0:41:59.240
<v Speaker 2>Yeah, the point of X was was to have adventures,

0:41:59.719 --> 0:42:07.080
<v Speaker 2>to report about it, to be artistic, to show, to

0:42:07.600 --> 0:42:11.680
<v Speaker 2>encourage people to think for themselves, to because punk rock

0:42:11.840 --> 0:42:17.640
<v Speaker 2>or music, you can say in general, is about freedom.

0:42:18.640 --> 0:42:21.880
<v Speaker 2>And I would disagree that that musicians don't have the

0:42:22.000 --> 0:42:28.640
<v Speaker 2>kind of clout that they did thirty forty years ago.

0:42:29.600 --> 0:42:31.600
<v Speaker 2>I would totally disagree with it. I think I think

0:42:33.040 --> 0:42:36.880
<v Speaker 2>Megan the Stallion showing up with Kamala Harris has a

0:42:37.160 --> 0:42:42.279
<v Speaker 2>has a great impact on a community that may not

0:42:42.360 --> 0:42:46.319
<v Speaker 2>be I don't know that they wouldn't they wouldn't be

0:42:46.360 --> 0:42:52.600
<v Speaker 2>there that that people. I don't know that Pearl Jam

0:42:52.719 --> 0:42:56.759
<v Speaker 2>has has a lot of impact. They can. Pearl Jam

0:42:56.800 --> 0:43:00.640
<v Speaker 2>doesn't have a lot of stage show and they just

0:43:01.120 --> 0:43:05.080
<v Speaker 2>play rock and roll music to stadiums.

0:43:06.000 --> 0:43:09.440
<v Speaker 1>Pearl Jim's a thirty five year old man making the Stallion.

0:43:09.560 --> 0:43:13.040
<v Speaker 1>You know in some videos and other thing push she

0:43:13.200 --> 0:43:17.800
<v Speaker 1>testing limits having to do with sexuality, etc. And it's great,

0:43:17.800 --> 0:43:21.000
<v Speaker 1>she has some power. But if you want to know,

0:43:21.200 --> 0:43:22.640
<v Speaker 1>you know, it used to be in our era, if

0:43:22.680 --> 0:43:23.919
<v Speaker 1>you want to know what was going on in the world,

0:43:24.000 --> 0:43:26.560
<v Speaker 1>you put on a record. Do you still think that's

0:43:26.600 --> 0:43:27.000
<v Speaker 1>the same.

0:43:27.920 --> 0:43:32.200
<v Speaker 2>Sure, I think I think it's a different You're you're

0:43:32.239 --> 0:43:36.640
<v Speaker 2>just talking about different people. There's not the there's not

0:43:36.719 --> 0:43:41.279
<v Speaker 2>the hour glass of creativity and then the bottleneck in

0:43:41.320 --> 0:43:44.680
<v Speaker 2>the middle of it where it's all the gatekeepers of

0:43:44.800 --> 0:43:47.960
<v Speaker 2>publicists and magazines and things like that, and then at

0:43:48.000 --> 0:43:49.880
<v Speaker 2>the top of it is the audience. It's just a

0:43:50.239 --> 0:43:53.480
<v Speaker 2>it's just a straight line now goes directly from the

0:43:53.480 --> 0:43:59.000
<v Speaker 2>people to the audience, so it's not as directed like

0:43:59.200 --> 0:44:03.120
<v Speaker 2>there's no one person who's uh is going to be

0:44:03.160 --> 0:44:07.920
<v Speaker 2>speaking for a generation. But I think that, yes, I

0:44:07.920 --> 0:44:11.440
<v Speaker 2>think that people do put on records. Like Exsain was saying,

0:44:11.719 --> 0:44:15.719
<v Speaker 2>you can rediscover there's nothing new, it's just when when

0:44:15.760 --> 0:44:16.680
<v Speaker 2>did you hear about it?

0:44:24.400 --> 0:44:29.880
<v Speaker 1>Okay? So, certainly in our network television was a vapid

0:44:29.960 --> 0:44:33.799
<v Speaker 1>wasteland movie. Certainly late sixties to the end of the

0:44:33.840 --> 0:44:40.160
<v Speaker 1>seventies really a driving force. But today music is competing

0:44:40.200 --> 0:44:43.680
<v Speaker 1>against streaming television, which is whether we say it's a

0:44:43.760 --> 0:44:47.120
<v Speaker 1>danu Mall has certainly been you know, at a heyday,

0:44:47.160 --> 0:44:51.720
<v Speaker 1>it's never been previously, And we do have social media

0:44:51.719 --> 0:44:55.799
<v Speaker 1>where there's a lot of creativity. So from my perspective,

0:44:55.920 --> 0:44:58.600
<v Speaker 1>the power of not the power of music, the execution

0:44:58.719 --> 0:45:01.200
<v Speaker 1>of music is not a dominant as it used to be.

0:45:01.239 --> 0:45:03.760
<v Speaker 1>I mean, I think the two of you represent this point.

0:45:04.040 --> 0:45:06.520
<v Speaker 1>You grew up in an era where before the Army

0:45:06.600 --> 0:45:09.000
<v Speaker 1>ripped off our slogan be all you can be, you

0:45:09.040 --> 0:45:12.640
<v Speaker 1>could live on minimum wage, whereas today when a kid

0:45:12.680 --> 0:45:15.680
<v Speaker 1>graduates from high school or college, it's a completely different

0:45:15.800 --> 0:45:19.480
<v Speaker 1>environment and it's much harder. And when you're talking about

0:45:19.520 --> 0:45:22.720
<v Speaker 1>middle class bohemians, I'm not even sure that's a major

0:45:22.760 --> 0:45:24.800
<v Speaker 1>group at this point in time. You have the people

0:45:24.800 --> 0:45:28.000
<v Speaker 1>who'll do anything for recognition and the other people are

0:45:27.920 --> 0:45:31.640
<v Speaker 1>afraid of being broke going into corporate jobs.

0:45:32.160 --> 0:45:33.160
<v Speaker 3>Yes, that's all true.

0:45:33.800 --> 0:45:37.720
<v Speaker 2>I totally disagree later on me. There are bands there,

0:45:37.760 --> 0:45:40.600
<v Speaker 2>all right, Because there are bands that are in their

0:45:40.640 --> 0:45:44.160
<v Speaker 2>twenties and thirties that tour their asses off and go

0:45:44.280 --> 0:45:46.760
<v Speaker 2>all around the country and go to Europe like Skating

0:45:46.800 --> 0:45:52.120
<v Speaker 2>Polly our friends. They may have to have a straight

0:45:52.239 --> 0:45:54.640
<v Speaker 2>job when they're not on the road. But there are

0:45:54.640 --> 0:45:59.959
<v Speaker 2>other bands that make really good money that are about

0:46:00.080 --> 0:46:04.320
<v Speaker 2>out art. They're not just about showing their ass on TikTok.

0:46:05.480 --> 0:46:08.919
<v Speaker 2>So it's it's just like whether whether we're aware of it.

0:46:09.000 --> 0:46:13.120
<v Speaker 2>I'm not, I'm not twenty five years old, but I

0:46:13.200 --> 0:46:16.800
<v Speaker 2>see other bands that are that are new and they're

0:46:18.960 --> 0:46:22.960
<v Speaker 2>they live simply and they they interact with each other.

0:46:24.080 --> 0:46:27.480
<v Speaker 2>Sonny War is another folk artists that that I know.

0:46:28.400 --> 0:46:31.880
<v Speaker 2>She I don't think she has a straight job, but

0:46:31.960 --> 0:46:33.480
<v Speaker 2>she has to play her ass off, and she has

0:46:33.520 --> 0:46:35.879
<v Speaker 2>to find gigs, she has to beat the bushes, and

0:46:35.880 --> 0:46:40.960
<v Speaker 2>and it's just a there's more of an alternate lifestyle

0:46:41.120 --> 0:46:45.120
<v Speaker 2>that goes on. It's part of the indie music world.

0:46:45.719 --> 0:46:51.719
<v Speaker 2>Whether they're they're they're making money on live performance. So

0:46:51.960 --> 0:46:56.280
<v Speaker 2>any records or any band camp that they're they're putting

0:46:56.280 --> 0:46:59.720
<v Speaker 2>out there, that's just a promotional tool. Like in the

0:46:59.760 --> 0:47:02.879
<v Speaker 2>old old days when you made records, it's a promotional Two.

0:47:04.640 --> 0:47:08.880
<v Speaker 3>Maybe we're talking about the difference between a cohesive social

0:47:09.080 --> 0:47:12.279
<v Speaker 3>cultural movement and people just individually learning how to fend

0:47:12.280 --> 0:47:14.920
<v Speaker 3>for themselves, and maybe they're both the same thing. I

0:47:14.920 --> 0:47:15.399
<v Speaker 3>don't know.

0:47:15.560 --> 0:47:18.000
<v Speaker 2>People still go out to see music all the time, though.

0:47:18.200 --> 0:47:20.120
<v Speaker 3>No, No, nobody's arguing that they don't.

0:47:20.440 --> 0:47:24.640
<v Speaker 1>Yeah, yeah, well, you know, going a little bit deeper, Yes,

0:47:25.320 --> 0:47:30.400
<v Speaker 1>it used to be. Distribution was very difficult, so therefore

0:47:30.440 --> 0:47:33.200
<v Speaker 1>you needed essentially a major label to get your record

0:47:33.239 --> 0:47:37.320
<v Speaker 1>in the store. So most acts could not participate, whereas

0:47:37.440 --> 0:47:41.440
<v Speaker 1>everybody can participate. Having said that, if you start with

0:47:41.520 --> 0:47:45.480
<v Speaker 1>the Beatles, they could write songs with changes. They were

0:47:45.480 --> 0:47:48.879
<v Speaker 1>good looking, they had incredible voices. You know, people will

0:47:48.920 --> 0:47:52.239
<v Speaker 1>email me and go, you know, well, the music's not

0:47:52.360 --> 0:47:55.719
<v Speaker 1>that good, what about the lyrics, And they say, you know,

0:47:55.800 --> 0:47:57.680
<v Speaker 1>look at Bob Dylan, and they say, yeah, but he

0:47:57.760 --> 0:48:01.480
<v Speaker 1>was the best lyricist of all time. I can't say that,

0:48:01.560 --> 0:48:03.840
<v Speaker 1>you know, I think it's great that all these artists

0:48:04.160 --> 0:48:07.560
<v Speaker 1>are earning a living, but I can't say that there's

0:48:07.560 --> 0:48:11.080
<v Speaker 1>a plethora of them that if the light was shined

0:48:11.160 --> 0:48:13.560
<v Speaker 1>upon them, they would be much larger an impact.

0:48:15.480 --> 0:48:20.960
<v Speaker 2>Yeah, the whole point of punk rock is to democratize

0:48:21.520 --> 0:48:26.000
<v Speaker 2>and not to rely on major record companies. We got

0:48:26.000 --> 0:48:28.640
<v Speaker 2>turned down and we were happy to be on Slash,

0:48:28.920 --> 0:48:32.279
<v Speaker 2>and then we had the opportunity to record for Electra. Okay, good,

0:48:32.320 --> 0:48:34.279
<v Speaker 2>that's just a way of getting our music out there.

0:48:34.280 --> 0:48:37.120
<v Speaker 2>Little did we know that Electra was signing us as

0:48:37.200 --> 0:48:41.320
<v Speaker 2>a window dressing to say, yeah, we're part of the

0:48:41.680 --> 0:48:51.279
<v Speaker 2>new new music. But we we began the network with

0:48:51.440 --> 0:48:56.640
<v Speaker 2>college radio, which became indie Music, which which begat all

0:48:56.719 --> 0:49:03.200
<v Speaker 2>the indie record company, These like Twin Tone or Bloodshot

0:49:03.600 --> 0:49:07.080
<v Speaker 2>or Merge or all these ones that you may not

0:49:07.200 --> 0:49:11.040
<v Speaker 2>get rich rich, and you may not be speaking for

0:49:11.160 --> 0:49:16.520
<v Speaker 2>an entire generation, but you're gonna. I mean, look at

0:49:16.600 --> 0:49:20.440
<v Speaker 2>look at what happened in uh South central l A.

0:49:20.640 --> 0:49:24.640
<v Speaker 2>With with rap music that was speaking directly to their audience,

0:49:25.080 --> 0:49:26.960
<v Speaker 2>and they made a shipload of money.

0:49:27.400 --> 0:49:34.960
<v Speaker 1>Yeah, but now Snoop Dogg is on the Olympics.

0:49:34.200 --> 0:49:39.759
<v Speaker 2>An iced tea is an actor on a very you know,

0:49:40.480 --> 0:49:44.319
<v Speaker 2>long running procedural. That's not the point. The point is

0:49:44.320 --> 0:49:48.040
<v Speaker 2>is that that that old model, because they fucked it

0:49:48.120 --> 0:49:50.240
<v Speaker 2>up so much and put their head in the sand.

0:49:50.280 --> 0:49:52.760
<v Speaker 2>When Napster came along and all that sort of stuff,

0:49:53.080 --> 0:49:56.080
<v Speaker 2>they got what they deserve. And I don't I don't.

0:49:57.880 --> 0:50:01.240
<v Speaker 2>I'm not sad about that. I don't mourn that because

0:50:01.239 --> 0:50:04.200
<v Speaker 2>that was a were they were a kind of They

0:50:04.280 --> 0:50:06.920
<v Speaker 2>gave the musicians scraps and the musicians had to make

0:50:07.640 --> 0:50:10.879
<v Speaker 2>so much money that mostly the record company. I don't

0:50:10.880 --> 0:50:15.080
<v Speaker 2>bemoan their demise. So there's other ways of people like

0:50:15.239 --> 0:50:19.360
<v Speaker 2>us working with with Fat Possum. Fat Passum is a

0:50:19.400 --> 0:50:23.239
<v Speaker 2>great label and they're gonna get. They're gonna get.

0:50:23.520 --> 0:50:26.680
<v Speaker 1>I agree. I agree with everything you say. My point

0:50:26.760 --> 0:50:29.760
<v Speaker 1>about Snoop Dogg being at the Olympics, it's not about

0:50:29.800 --> 0:50:32.640
<v Speaker 1>the issue of selling out. It's about the issue of ubiquity,

0:50:33.880 --> 0:50:38.839
<v Speaker 1>and amongst the alternative acts, we're thinking different in the

0:50:38.880 --> 0:50:42.879
<v Speaker 1>present era. I can't think of two who have anywhere

0:50:43.040 --> 0:50:46.719
<v Speaker 1>near the level of ubiquity that X had forty years ago,

0:50:47.840 --> 0:50:51.319
<v Speaker 1>or even you know the bands, the Seattle Sound of

0:50:51.360 --> 0:50:55.000
<v Speaker 1>the nineties. There are more people making a living making

0:50:55.080 --> 0:50:59.200
<v Speaker 1>music despite all the negativity about streaming services and payouts.

0:51:00.080 --> 0:51:03.040
<v Speaker 1>But I find it it's not in a situation like

0:51:03.120 --> 0:51:05.440
<v Speaker 1>it was in our heyday, where Filmo says, you got

0:51:05.440 --> 0:51:07.920
<v Speaker 1>to hear this record and while it just blows your mind.

0:51:08.000 --> 0:51:10.480
<v Speaker 1>I respect the fact that these people are earning a living,

0:51:11.120 --> 0:51:13.560
<v Speaker 1>but I can't say that these are the records are

0:51:13.719 --> 0:51:14.560
<v Speaker 1>changing my life.

0:51:15.960 --> 0:51:18.920
<v Speaker 3>You probably listen to a lot more music than I do,

0:51:19.080 --> 0:51:22.359
<v Speaker 3>new music, especially I still listen mostly to really old

0:51:22.400 --> 0:51:25.000
<v Speaker 3>country and blue dress and stuff like that and old music.

0:51:25.040 --> 0:51:28.040
<v Speaker 3>But I would just say, if that's what you're seeing

0:51:28.160 --> 0:51:31.879
<v Speaker 3>and that's your experience, I would say interesting. I don't know.

0:51:32.000 --> 0:51:33.960
<v Speaker 3>I don't pay attention too much to what's going on now.

0:51:34.080 --> 0:51:36.120
<v Speaker 3>I don't know who's great, who isn't great, how great

0:51:36.160 --> 0:51:39.320
<v Speaker 3>things are, and how it compares to the past or

0:51:39.360 --> 0:51:41.920
<v Speaker 3>the future. Who's the best lyricist out there right now,

0:51:42.000 --> 0:51:44.399
<v Speaker 3>I don't know who that is. Is there another Dyllan

0:51:44.480 --> 0:51:45.200
<v Speaker 3>out there? I don't know.

0:51:47.000 --> 0:51:50.120
<v Speaker 2>I don't think it's much different between us and the

0:51:51.000 --> 0:51:54.360
<v Speaker 2>number of people that we reached and the number of

0:51:54.400 --> 0:51:59.560
<v Speaker 2>people that some band is reaching nowadays, whether it's Phoebe

0:51:59.560 --> 0:52:05.719
<v Speaker 2>Bridge or or or. I meant when she began, she

0:52:06.239 --> 0:52:13.560
<v Speaker 2>reached a hundred times more people. And to those people

0:52:13.600 --> 0:52:19.480
<v Speaker 2>that listened to her or Elliott Smith, which she's very

0:52:19.600 --> 0:52:22.879
<v Speaker 2>much like, it had this it has the same kind

0:52:22.920 --> 0:52:26.880
<v Speaker 2>of impact. They're speaking to them at their age, and

0:52:26.960 --> 0:52:30.160
<v Speaker 2>we just spoke to some people at the age that

0:52:30.560 --> 0:52:34.560
<v Speaker 2>we were, and they were I mean, the most records

0:52:34.640 --> 0:52:38.719
<v Speaker 2>that we sold for Wild Gift or Los Angeles or

0:52:38.760 --> 0:52:44.080
<v Speaker 2>even under the Big Black Son was maybe fifty thousand records.

0:52:44.440 --> 0:52:50.960
<v Speaker 2>But everybody told their friends about him. So maybe some

0:52:51.160 --> 0:52:54.040
<v Speaker 2>you know, Elliott Smith sold one hundred and fifty thousand records,

0:52:54.040 --> 0:52:57.600
<v Speaker 2>but everybody was really that he really spoke to them

0:52:57.600 --> 0:53:00.160
<v Speaker 2>on a personal level. So I just think I don't

0:53:00.160 --> 0:53:03.040
<v Speaker 2>have the experience. I don't have the connection with those

0:53:03.640 --> 0:53:06.160
<v Speaker 2>younger bands now to be able to speak to it.

0:53:06.200 --> 0:53:09.360
<v Speaker 2>But I know that it's it's very similar. It's like

0:53:09.719 --> 0:53:13.239
<v Speaker 2>you're talking to me because I'm that age, and there's

0:53:14.080 --> 0:53:17.480
<v Speaker 2>a lot of young bands that have girls that have

0:53:17.560 --> 0:53:21.360
<v Speaker 2>gone to Girls Rock Camp that are now fronting bands

0:53:21.360 --> 0:53:27.040
<v Speaker 2>that have a real punk rock kind of ethos. So yeah,

0:53:27.480 --> 0:53:31.279
<v Speaker 2>it may not have the same kind of media coverage

0:53:31.480 --> 0:53:34.840
<v Speaker 2>or media impact, but I think there's an underground and

0:53:34.840 --> 0:53:37.640
<v Speaker 2>that's to me the most important thing. That's that's why

0:53:37.640 --> 0:53:41.319
<v Speaker 2>I like you were talking about how much do I

0:53:41.320 --> 0:53:45.000
<v Speaker 2>get wrecked or do we get recognized? And it's like

0:53:45.239 --> 0:53:48.520
<v Speaker 2>once in a while, but we are in the sweetest

0:53:48.560 --> 0:53:51.760
<v Speaker 2>of sweet spots where we make a really good living,

0:53:52.120 --> 0:53:56.279
<v Speaker 2>We get to do artistic things and people will say

0:53:56.320 --> 0:54:00.799
<v Speaker 2>you changed my life or I don't know who you are.

0:54:00.880 --> 0:54:03.120
<v Speaker 2>So that's a good place to be. That's a great

0:54:03.160 --> 0:54:07.360
<v Speaker 2>place to be. And like Exceine said, if you just

0:54:07.440 --> 0:54:12.080
<v Speaker 2>diffuse the the interaction like hey aren't you John Diales,

0:54:12.120 --> 0:54:14.879
<v Speaker 2>like yeah, what's up? And you don't get weird about it.

0:54:15.080 --> 0:54:18.640
<v Speaker 2>You don't have a bodyguard because you don't need one.

0:54:18.920 --> 0:54:19.920
<v Speaker 2>That's just fine.

0:54:21.719 --> 0:54:26.200
<v Speaker 1>So so, having made all these records, do you have

0:54:26.280 --> 0:54:29.480
<v Speaker 1>a royalty stream, whether it be on record or publishing?

0:54:29.560 --> 0:54:31.680
<v Speaker 1>Is there any or is it essentially insignificant?

0:54:32.160 --> 0:54:32.319
<v Speaker 4>Oh?

0:54:32.360 --> 0:54:35.719
<v Speaker 3>No, it's not insignificant because everybody got their records back

0:54:35.719 --> 0:54:39.080
<v Speaker 3>after thirty five years, you know that, right, right? Yeah,

0:54:39.120 --> 0:54:41.560
<v Speaker 3>and that was fantastic, eucepter thirty five years if not

0:54:41.600 --> 0:54:44.040
<v Speaker 3>making the money from our records, we suddenly own them again.

0:54:44.239 --> 0:54:45.600
<v Speaker 3>I mean we own them for the first time. And

0:54:45.640 --> 0:54:49.080
<v Speaker 3>that's true for all the bands, and everybody's so happy

0:54:49.160 --> 0:54:51.200
<v Speaker 3>they got their records back and they can finally make

0:54:51.239 --> 0:54:54.560
<v Speaker 3>a living now. It's just wonderful.

0:54:54.640 --> 0:54:57.960
<v Speaker 2>No, but even even prior to that, I mean we're

0:54:58.600 --> 0:55:02.360
<v Speaker 2>with ASKAP and am I and yeah, we have publishing

0:55:02.360 --> 0:55:07.160
<v Speaker 2>companies and we get quarterly checks that are they're great.

0:55:08.200 --> 0:55:16.000
<v Speaker 2>And there's also a sound exchange, which deals with live

0:55:16.080 --> 0:55:21.120
<v Speaker 2>performance or radio performance. And I mean musicians are still

0:55:21.120 --> 0:55:26.120
<v Speaker 2>getting the scraps. Let's not let's not overlook that with Spotify,

0:55:26.440 --> 0:55:30.360
<v Speaker 2>with Pandora, with all that stuff, you're getting a hundredth

0:55:30.360 --> 0:55:36.200
<v Speaker 2>of a cent per play. So you can have thousands

0:55:36.280 --> 0:55:42.359
<v Speaker 2>of plays and you'll get fifteen dollars and somebody's making

0:55:42.400 --> 0:55:46.000
<v Speaker 2>money and they're they're they're using your content. But that's

0:55:46.080 --> 0:55:47.920
<v Speaker 2>just the way it is. That's the way it's always

0:55:47.920 --> 0:55:51.520
<v Speaker 2>going to be. They're trying to increase that a little bit.

0:55:51.600 --> 0:55:55.480
<v Speaker 2>But I mean, even like the the heyday of like

0:55:55.560 --> 0:55:59.399
<v Speaker 2>record companies they were getting they were giving the musicians

0:56:00.600 --> 0:56:05.560
<v Speaker 2>ten or fifteen percent of every record sale, so they're

0:56:05.600 --> 0:56:08.480
<v Speaker 2>kidding the scraps, Oh we have we have a lot

0:56:08.520 --> 0:56:12.040
<v Speaker 2>of expenses, and it's like you don't have shit. They

0:56:12.080 --> 0:56:16.680
<v Speaker 2>were charging musicians breakage fee on CDs, and the breakage

0:56:16.680 --> 0:56:20.200
<v Speaker 2>fee was for seventy eights because a certain number on

0:56:20.280 --> 0:56:24.360
<v Speaker 2>shipping would be broken, and not as many CDs broke

0:56:24.880 --> 0:56:28.479
<v Speaker 2>like seventy eights, so it's like part of the deal.

0:56:29.640 --> 0:56:33.359
<v Speaker 1>I talked to some musicians who've gotten their assets back,

0:56:33.400 --> 0:56:36.960
<v Speaker 1>whether they be songs or records, and then they relicnsed

0:56:36.960 --> 0:56:39.600
<v Speaker 1>them for the check. What have you done with the

0:56:39.640 --> 0:56:41.240
<v Speaker 1>assets that you've gotten back?

0:56:42.880 --> 0:56:46.839
<v Speaker 2>We have, We've we don't want to have a record company.

0:56:48.640 --> 0:56:49.680
<v Speaker 2>You're having an earthquake.

0:56:49.880 --> 0:56:51.840
<v Speaker 3>Yeah, it's just a little Well, there's been swarms and

0:56:51.880 --> 0:56:53.920
<v Speaker 3>swarms and swarms up mostly their.

0:56:54.880 --> 0:57:04.799
<v Speaker 2>Central Oh that's exciting. I'm glad nothing that happen. Yeah, yeah, yeah.

0:57:04.840 --> 0:57:07.000
<v Speaker 2>We license them to Fat Possible because we don't want

0:57:07.000 --> 0:57:09.440
<v Speaker 2>to be in the business of being a record company.

0:57:10.000 --> 0:57:13.239
<v Speaker 2>But we get a great return on that, and so

0:57:13.800 --> 0:57:16.120
<v Speaker 2>we make ninety percent and they make ten percent and

0:57:16.160 --> 0:57:17.000
<v Speaker 2>they're happy with that.

0:57:17.360 --> 0:57:20.280
<v Speaker 3>Or something like that. I wouldn't quote that figure, John, however,

0:57:20.920 --> 0:57:22.560
<v Speaker 3>I would say that they're in the business of being

0:57:22.600 --> 0:57:24.680
<v Speaker 3>a record label. We're in the business of making records

0:57:24.720 --> 0:57:26.160
<v Speaker 3>and it works out really good. But if we try

0:57:26.160 --> 0:57:28.520
<v Speaker 3>to do their job, we would screw it up terribly,

0:57:28.880 --> 0:57:30.680
<v Speaker 3>and they can't do what we do, and we don't

0:57:30.720 --> 0:57:32.479
<v Speaker 3>want each other to do that. I love the fact

0:57:32.480 --> 0:57:35.200
<v Speaker 3>that we have this great label that works with us.

0:57:35.400 --> 0:57:37.680
<v Speaker 3>It's the first time, really. I mean, a lot of

0:57:37.760 --> 0:57:40.680
<v Speaker 3>things have gotten better over the years in the music world,

0:57:40.800 --> 0:57:42.720
<v Speaker 3>and that's one of them, is that there are things

0:57:42.760 --> 0:57:45.440
<v Speaker 3>like that. But I don't know. I don't go into

0:57:45.480 --> 0:57:46.439
<v Speaker 3>the business too much.

0:57:46.720 --> 0:57:46.919
<v Speaker 4>Yeah.

0:57:46.960 --> 0:57:49.760
<v Speaker 2>You also have the option to have a five year

0:57:49.840 --> 0:57:53.240
<v Speaker 2>license or a seven year license. And then when that

0:57:53.280 --> 0:57:55.560
<v Speaker 2>comes around again, then you say, well, yes I want

0:57:55.600 --> 0:57:58.480
<v Speaker 2>to keep doing business with you, or no, I'm going

0:57:58.560 --> 0:57:59.560
<v Speaker 2>to move with someplace else.

0:58:00.680 --> 0:58:00.840
<v Speaker 4>You know.

0:58:00.880 --> 0:58:02.840
<v Speaker 3>A funny thing about money, too, though, is if you

0:58:02.840 --> 0:58:05.160
<v Speaker 3>think we started in seventy six, but let's say let's

0:58:05.200 --> 0:58:08.400
<v Speaker 3>take from nineteen eighty till now, and you average out

0:58:08.440 --> 0:58:13.880
<v Speaker 3>like our income per a year, it would probably be

0:58:13.880 --> 0:58:16.520
<v Speaker 3>about fifty thousand dollars a year. I mean, we're not

0:58:16.600 --> 0:58:18.640
<v Speaker 3>rich at all. But the thing is, it's funny when

0:58:18.640 --> 0:58:19.760
<v Speaker 3>you think about that. It's like, if you have a

0:58:19.760 --> 0:58:22.040
<v Speaker 3>few good years, that's great, but like, what about those

0:58:22.120 --> 0:58:23.360
<v Speaker 3>years when you can make twelve thousand?

0:58:23.520 --> 0:58:28.600
<v Speaker 1>You know, Okay, you have these assets that are generating revenue,

0:58:29.040 --> 0:58:32.919
<v Speaker 1>has anyone approached you about buying them? That's a big

0:58:32.960 --> 0:58:33.560
<v Speaker 1>thing now.

0:58:33.640 --> 0:58:35.400
<v Speaker 3>Yeah, it is a big thing now. That started during

0:58:35.400 --> 0:58:37.080
<v Speaker 3>COVID as far as I can remember, and a lot

0:58:37.080 --> 0:58:38.600
<v Speaker 3>of people said, you know what, I'm never going to

0:58:38.680 --> 0:58:41.800
<v Speaker 3>tour again. I might probably die. You know, there's never

0:58:41.800 --> 0:58:43.280
<v Speaker 3>been a better chance to sell my stuff for a

0:58:43.280 --> 0:58:46.560
<v Speaker 3>billion dollars. Didn't clean the queen legacy went for a

0:58:46.560 --> 0:58:51.080
<v Speaker 3>billion or something. Supposedly, you know, if somebody said to us, yeah,

0:58:51.240 --> 0:58:53.200
<v Speaker 3>you know, blah blah blah, we want to buy all

0:58:53.200 --> 0:58:54.880
<v Speaker 3>your stuff, and here's how much money we're going to

0:58:54.960 --> 0:58:57.880
<v Speaker 3>give you. I think we would have to weigh that is,

0:58:57.920 --> 0:59:00.800
<v Speaker 3>like how old we are and what we want to

0:59:00.840 --> 0:59:03.560
<v Speaker 3>give to our kids. Like I'm fine dying the where

0:59:03.600 --> 0:59:05.960
<v Speaker 3>I'm at and having my son own all my stuff.

0:59:06.040 --> 0:59:07.680
<v Speaker 3>And I know he'll do the right stuff with it.

0:59:07.920 --> 0:59:10.000
<v Speaker 3>He'll give it to like dog rescues and stuff. But

0:59:11.200 --> 0:59:14.080
<v Speaker 3>I don't really care if we have plenty enough to

0:59:14.280 --> 0:59:17.240
<v Speaker 3>eat and pay bills and have fun and travel a

0:59:17.280 --> 0:59:21.880
<v Speaker 3>little bit. And who knows. I mean, you'd have to say,

0:59:21.960 --> 0:59:24.600
<v Speaker 3>I don't know. It's just who it's a. It's a.

0:59:27.440 --> 0:59:27.640
<v Speaker 1>I have.

0:59:27.840 --> 0:59:30.680
<v Speaker 2>I have a hard time with with people that I

0:59:30.760 --> 0:59:37.480
<v Speaker 2>respected selling their catalogs for millions and millions of dollars.

0:59:37.880 --> 0:59:40.600
<v Speaker 2>I don't think that. I mean, do you really need that?

0:59:42.000 --> 0:59:44.040
<v Speaker 4>Well, that seems it seems like.

0:59:44.720 --> 0:59:46.720
<v Speaker 2>No, I'm not. I just have a hard time with it.

0:59:46.760 --> 0:59:48.200
<v Speaker 2>And I don't think I would I would want to

0:59:48.240 --> 0:59:50.920
<v Speaker 2>do that. I would rather keep it, like I've seens

0:59:50.920 --> 0:59:54.280
<v Speaker 2>that would rather keep it in the family. I would rather.

0:59:55.240 --> 0:59:57.720
<v Speaker 2>But somebody wives a lot of money at you. You

0:59:57.760 --> 0:59:59.800
<v Speaker 2>never know what you're going to do until that.

1:00:08.080 --> 1:00:10.400
<v Speaker 1>So how did this leaders record come together?

1:00:11.920 --> 1:00:14.240
<v Speaker 3>As far as what songwriting.

1:00:14.400 --> 1:00:17.680
<v Speaker 1>Everything, the decision to make it, how you wrote the songs,

1:00:17.720 --> 1:00:18.400
<v Speaker 1>how you recorded?

1:00:18.600 --> 1:00:21.720
<v Speaker 3>Oh gosh, how's every record come together the same exact way?

1:00:22.040 --> 1:00:24.200
<v Speaker 3>Somebody says, I wrote these songs and then pretty soon

1:00:24.240 --> 1:00:25.960
<v Speaker 3>you think maybe it could be a good record, and

1:00:26.440 --> 1:00:30.000
<v Speaker 3>you work really hard and then you have an outlet.

1:00:30.040 --> 1:00:33.080
<v Speaker 3>We had we had Rob the producer from the last record.

1:00:33.520 --> 1:00:35.320
<v Speaker 3>I think what happened was the last record came out

1:00:35.360 --> 1:00:37.200
<v Speaker 3>and then COVID happened, so we never really got We

1:00:37.240 --> 1:00:39.000
<v Speaker 3>didn't get to tour and do anything. So it made

1:00:39.040 --> 1:00:42.080
<v Speaker 3>us go, let's make another one, and this time hopefully

1:00:42.120 --> 1:00:45.280
<v Speaker 3>we'll get the tour unless there's another pandemic. So I

1:00:45.320 --> 1:00:47.000
<v Speaker 3>think that if we had made the last record and

1:00:47.040 --> 1:00:48.600
<v Speaker 3>COVID didn't happen, I don't know that we would have

1:00:48.600 --> 1:00:50.440
<v Speaker 3>made another record. I think we just wanted to do

1:00:50.480 --> 1:00:53.880
<v Speaker 3>it and see what happens. But I think that we

1:00:54.040 --> 1:00:56.480
<v Speaker 3>learned we can do more stuff, and I hope we

1:00:56.560 --> 1:00:59.760
<v Speaker 3>record a song here and there maybe someday. But I

1:00:59.760 --> 1:01:02.400
<v Speaker 3>don't no, I don't like the finality of last record,

1:01:02.480 --> 1:01:04.720
<v Speaker 3>last tour. But I think you have to sometimes come

1:01:04.720 --> 1:01:08.000
<v Speaker 3>to terms with that. I don't want people to miss

1:01:08.000 --> 1:01:10.760
<v Speaker 3>seeing us because we didn't tell them it's our last tour.

1:01:11.400 --> 1:01:12.919
<v Speaker 3>We want people to know where we're at.

1:01:14.960 --> 1:01:18.920
<v Speaker 2>Yeah, pretty much like that. Ecceene and I began talking

1:01:18.920 --> 1:01:22.000
<v Speaker 2>about writing a new record, and she sent me lyrics

1:01:22.000 --> 1:01:25.600
<v Speaker 2>and I worked on music and then sent it back

1:01:25.640 --> 1:01:27.720
<v Speaker 2>to her and she would say, yeah, I love this

1:01:27.880 --> 1:01:32.320
<v Speaker 2>and that's great and I don't know how you do that,

1:01:32.600 --> 1:01:35.640
<v Speaker 2>but I'm glad you did. And then we take it

1:01:35.640 --> 1:01:37.960
<v Speaker 2>to the rehearsal room and then it starts changing, and

1:01:38.000 --> 1:01:40.600
<v Speaker 2>then we have to rewrite it because another one that

1:01:40.640 --> 1:01:42.640
<v Speaker 2>I would work on, Excene would say, no, I don't

1:01:42.680 --> 1:01:44.520
<v Speaker 2>like that story. What if we had a different story.

1:01:44.520 --> 1:01:50.919
<v Speaker 2>So we wrote, rewrote, re rehearsed, touring all through from

1:01:50.960 --> 1:01:56.440
<v Speaker 2>the end of twenty twenty two to twenty to now.

1:01:56.640 --> 1:01:59.560
<v Speaker 2>I mean we were playing the luxury we had as

1:01:59.560 --> 1:02:03.120
<v Speaker 2>we played about five four or five of these songs

1:02:03.720 --> 1:02:07.200
<v Speaker 2>most of twenty twenty three. We do the live and

1:02:07.960 --> 1:02:10.000
<v Speaker 2>you don't get a chance to do that when you

1:02:10.160 --> 1:02:12.640
<v Speaker 2>after you've made a few records, you usually write songs,

1:02:13.400 --> 1:02:15.360
<v Speaker 2>work them up, and then put them on a record,

1:02:15.880 --> 1:02:20.280
<v Speaker 2>and you just have to hope that your first choice

1:02:20.320 --> 1:02:25.080
<v Speaker 2>is the best choice, like Alan Ginsberg said, and we

1:02:25.160 --> 1:02:29.080
<v Speaker 2>had a lot of opportunity to work through different different

1:02:29.120 --> 1:02:32.520
<v Speaker 2>ways of playing them.

1:02:32.720 --> 1:02:35.280
<v Speaker 1>You know, a lot of bands break up over the

1:02:35.320 --> 1:02:38.920
<v Speaker 1>songwriting royalties. The money tends to be in the publishing.

1:02:39.440 --> 1:02:42.880
<v Speaker 1>So the two of you conventionally write the songs, the

1:02:42.960 --> 1:02:46.080
<v Speaker 1>other two don't share in that income. Ever been any

1:02:46.120 --> 1:02:47.120
<v Speaker 1>discussions about that?

1:02:47.720 --> 1:02:50.240
<v Speaker 3>Yeah, actually we did work on that for the last record.

1:02:50.240 --> 1:02:57.000
<v Speaker 3>In this one, there is more owning, ownership and publishing stuff. Yeah,

1:02:57.280 --> 1:02:59.280
<v Speaker 3>you know, we've all worked it out. That's just an

1:02:59.320 --> 1:03:01.880
<v Speaker 3>internal stuff. You know, everybody has their stuff to work out.

1:03:01.920 --> 1:03:02.560
<v Speaker 3>Bands are hard.

1:03:04.560 --> 1:03:08.800
<v Speaker 2>We we make such a so much more of our living,

1:03:08.880 --> 1:03:12.240
<v Speaker 2>of our income comes from live performance than it does

1:03:12.320 --> 1:03:15.840
<v Speaker 2>from I think it's when you get the gold records

1:03:15.880 --> 1:03:19.720
<v Speaker 2>and you sell hundreds of thousands or millions of records.

1:03:19.720 --> 1:03:22.919
<v Speaker 2>That's when people say, hey, what the hell you have

1:03:23.040 --> 1:03:26.960
<v Speaker 2>a boat and I don't. I don't like you anymore.

1:03:27.200 --> 1:03:30.640
<v Speaker 2>That's and that's just sad. It's sad that we're in

1:03:30.720 --> 1:03:36.320
<v Speaker 2>such a greedy, capitalist society that your measure people measure

1:03:36.360 --> 1:03:40.920
<v Speaker 2>their worth by the toys that you have, the stuff

1:03:40.960 --> 1:03:44.440
<v Speaker 2>that you have and that's that's pathetic, I think. I mean,

1:03:44.480 --> 1:03:46.880
<v Speaker 2>it's no, I'm not just. I shouldn't just. I shouldn't

1:03:46.920 --> 1:03:50.360
<v Speaker 2>say that it's sad. It's it makes me sad when

1:03:50.400 --> 1:03:54.200
<v Speaker 2>people get all consumed by that.

1:03:56.400 --> 1:03:58.400
<v Speaker 1>So you like going on the road.

1:04:00.520 --> 1:04:02.880
<v Speaker 3>I still do. But it's really really physically hard and

1:04:03.000 --> 1:04:06.360
<v Speaker 3>mentally hard. And you know, van life is done not

1:04:06.440 --> 1:04:09.240
<v Speaker 3>an easy life, and motels are not easy. And the

1:04:09.280 --> 1:04:13.200
<v Speaker 3>suitcase dragging and unpacking, packing every day every night, and

1:04:13.240 --> 1:04:15.400
<v Speaker 3>then playing. You get up at seven o'clock in the

1:04:15.440 --> 1:04:17.440
<v Speaker 3>morning and you don't play till nine o'clock at night,

1:04:17.520 --> 1:04:19.120
<v Speaker 3>so you're kind of worn out by the time you

1:04:19.160 --> 1:04:21.600
<v Speaker 3>get there. So by the time you do soundcheck and

1:04:21.680 --> 1:04:23.720
<v Speaker 3>try to eat, and then you know it's just been

1:04:23.760 --> 1:04:27.640
<v Speaker 3>a long day already, ya. But then the live stuff's great.

1:04:27.880 --> 1:04:30.680
<v Speaker 3>And I hope that we do it for a while longer,

1:04:30.760 --> 1:04:34.680
<v Speaker 3>at least into next year a little bit. And we're

1:04:34.720 --> 1:04:35.520
<v Speaker 3>just going miss that.

1:04:35.560 --> 1:04:40.840
<v Speaker 2>We're going to tour a little smarter and maybe in

1:04:41.200 --> 1:04:45.640
<v Speaker 2>twenty twenty six or twenty twenty seven, I'm knocking on wood,

1:04:47.480 --> 1:04:51.440
<v Speaker 2>we'll play or next year we'll play twenty shows instead

1:04:51.440 --> 1:04:54.520
<v Speaker 2>of eighty shows, and we'll give people a good reason

1:04:54.560 --> 1:04:57.800
<v Speaker 2>to take a road trip to come to Atlanta where

1:04:57.800 --> 1:05:00.320
<v Speaker 2>we're going to play two or three nights, or to

1:05:00.520 --> 1:05:03.040
<v Speaker 2>Chicago or New York and like major cities and things

1:05:03.120 --> 1:05:04.680
<v Speaker 2>like that.

1:05:05.240 --> 1:05:07.320
<v Speaker 3>There's not a chance in hell we'll ever play Atlanta

1:05:07.360 --> 1:05:08.200
<v Speaker 3>for three nights.

1:05:07.960 --> 1:05:12.320
<v Speaker 2>But well, you don't know at any rate where there's

1:05:12.360 --> 1:05:14.400
<v Speaker 2>there's not a lot of scarcity when it comes to

1:05:15.160 --> 1:05:17.880
<v Speaker 2>what X has done because we tour all the time,

1:05:19.880 --> 1:05:27.120
<v Speaker 2>and Eccine's right, physically it's difficult. Luckily for us, the

1:05:27.360 --> 1:05:31.400
<v Speaker 2>hour and a half that we're actually creating is worth

1:05:31.440 --> 1:05:35.960
<v Speaker 2>the other twenty two and a half hours. So that's

1:05:35.960 --> 1:05:37.960
<v Speaker 2>why we do it, and it's what we do. It's

1:05:37.960 --> 1:05:40.480
<v Speaker 2>our living. It's like, oh, I don't I don't like

1:05:40.560 --> 1:05:42.800
<v Speaker 2>being a plumber anymore. I think I'm gonna quit. And

1:05:42.840 --> 1:05:45.680
<v Speaker 2>it's not that it's just can you bend down and

1:05:45.720 --> 1:05:50.480
<v Speaker 2>get under the sink and how are your knees? It's

1:05:51.000 --> 1:05:53.800
<v Speaker 2>and not wanting to be part of an organization that's

1:05:53.840 --> 1:05:58.080
<v Speaker 2>falling apart, wanting to say, okay, let's getting to the point.

1:05:58.280 --> 1:06:01.200
<v Speaker 2>If you want to see this, well it's still good,

1:06:01.400 --> 1:06:02.080
<v Speaker 2>come on out.

1:06:02.880 --> 1:06:06.280
<v Speaker 1>And at what level do you tour? I mean there's

1:06:06.280 --> 1:06:08.320
<v Speaker 1>from station wagons to private jets.

1:06:08.360 --> 1:06:11.440
<v Speaker 4>How does that fans?

1:06:10.880 --> 1:06:12.640
<v Speaker 2>We have two sprinters.

1:06:13.720 --> 1:06:16.880
<v Speaker 3>Yeah, so you know, the equipment, the merchandise, the people,

1:06:16.920 --> 1:06:20.440
<v Speaker 3>the suitcases, two two vans, and then we get you know,

1:06:20.520 --> 1:06:23.880
<v Speaker 3>we get hotel motels usually, but you know, nothing fancy,

1:06:24.160 --> 1:06:26.480
<v Speaker 3>just you know, because if you do fancy stuff, you

1:06:26.480 --> 1:06:31.360
<v Speaker 3>don't make any money, and we can't do that. So yeah,

1:06:31.760 --> 1:06:35.560
<v Speaker 3>pretty bare bones. We're very frugal and very practical when.

1:06:35.440 --> 1:06:39.160
<v Speaker 1>You're on the road. Does everybody get their own hotel room?

1:06:39.240 --> 1:06:40.120
<v Speaker 3>Most of us?

1:06:40.440 --> 1:06:44.280
<v Speaker 2>Yeah, the band does. The crew shares.

1:06:45.920 --> 1:06:48.919
<v Speaker 1>You know, a lot of bands have fights and break

1:06:49.040 --> 1:06:51.600
<v Speaker 1>up because they've been traveling with the same people in

1:06:51.680 --> 1:06:56.440
<v Speaker 1>close quarters for all those years. To what degree is

1:06:56.480 --> 1:06:59.840
<v Speaker 1>their friction in acts? And to what degree did being

1:07:00.080 --> 1:07:03.720
<v Speaker 1>on the road contribute to the breakup of your marriage?

1:07:04.560 --> 1:07:06.400
<v Speaker 3>I think back then it was just you know, Channa

1:07:06.440 --> 1:07:09.120
<v Speaker 3>and I met when I was twenty and we were together.

1:07:09.840 --> 1:07:11.880
<v Speaker 3>I think we were a little young to be making

1:07:11.920 --> 1:07:15.200
<v Speaker 3>a lifetime commitment. Uh, And there was so much other

1:07:15.240 --> 1:07:17.680
<v Speaker 3>stuff all we wanted to do in our lives, and

1:07:17.720 --> 1:07:20.560
<v Speaker 3>people kept interfering, and it was just a crazy time.

1:07:20.600 --> 1:07:22.320
<v Speaker 3>And I don't think I was ready to settle down.

1:07:22.960 --> 1:07:24.320
<v Speaker 3>I don't think that had as much to see with

1:07:24.320 --> 1:07:26.320
<v Speaker 3>the band, though. I think Billy quick because he just

1:07:26.320 --> 1:07:28.440
<v Speaker 3>got burned out on it. It was just going nowhere

1:07:28.440 --> 1:07:33.360
<v Speaker 3>at that point. It's hard. It's forty five years plus

1:07:33.400 --> 1:07:35.160
<v Speaker 3>forty eight years. It's a long time to be with

1:07:35.200 --> 1:07:37.520
<v Speaker 3>the same people over and over. That's why we're on

1:07:36.840 --> 1:07:39.479
<v Speaker 3>the only US and Los Lobos are the only bands

1:07:39.560 --> 1:07:42.800
<v Speaker 3>left right it's still tour because for one thing, it's

1:07:42.840 --> 1:07:45.560
<v Speaker 3>really really hard, for another thing where most people still

1:07:45.640 --> 1:07:49.800
<v Speaker 3>aren't alive. I think we're very grateful because you know,

1:07:49.840 --> 1:07:51.520
<v Speaker 3>what is the alternative? Would it be one of us

1:07:51.520 --> 1:07:53.280
<v Speaker 3>would be dead, We'd all be dead, we would have

1:07:53.320 --> 1:07:55.640
<v Speaker 3>broken up, we'd be you know, God only knows what

1:07:55.640 --> 1:07:58.120
<v Speaker 3>would have happened to us. So we're really lucky. I

1:07:58.160 --> 1:07:59.960
<v Speaker 3>don't look, I don't take it for granted. Even when

1:08:00.080 --> 1:08:01.960
<v Speaker 3>people get out of my nerves. I just people are

1:08:01.960 --> 1:08:03.520
<v Speaker 3>gonna get on your nerves no matter who they are,

1:08:03.520 --> 1:08:05.760
<v Speaker 3>what you're doing, whether it's the band or not.

1:08:07.720 --> 1:08:10.920
<v Speaker 2>Yeah, it's a it's a family and family dynamics can

1:08:10.960 --> 1:08:14.920
<v Speaker 2>be tricky. But but we've decided that we don't sweat

1:08:14.960 --> 1:08:23.400
<v Speaker 2>the small stuff and we are gracious with each other, intolerant.

1:08:23.960 --> 1:08:27.919
<v Speaker 1>Yeah, to what degree do you care about legacy?

1:08:29.640 --> 1:08:31.799
<v Speaker 3>Oh? I care about it, but it's not in my control.

1:08:33.160 --> 1:08:34.680
<v Speaker 3>And I don't want to get into I don't want

1:08:34.680 --> 1:08:36.439
<v Speaker 3>to get into like, oh I should have done this different,

1:08:36.479 --> 1:08:37.800
<v Speaker 3>or I should have done that different. You know, I

1:08:37.800 --> 1:08:39.640
<v Speaker 3>did what I did because I did it. That's what

1:08:39.720 --> 1:08:41.479
<v Speaker 3>I did. Take it or leave it. I don't know

1:08:41.560 --> 1:08:43.759
<v Speaker 3>if you If you like it, great, If not, I can't.

1:08:43.800 --> 1:08:44.400
<v Speaker 3>I don't care.

1:08:45.280 --> 1:08:47.519
<v Speaker 2>Yeah, I mean I know that that we have a

1:08:49.240 --> 1:08:54.000
<v Speaker 2>small spot in the in the world of music, and

1:08:54.040 --> 1:08:56.760
<v Speaker 2>maybe a little bit bigger impact on the world of

1:08:56.760 --> 1:09:00.520
<v Speaker 2>punk rock. But it's there. We're in all the books

1:09:01.120 --> 1:09:03.160
<v Speaker 2>for a lot of them, and if we're not, then

1:09:03.160 --> 1:09:07.360
<v Speaker 2>it's just somebody being having an axe to grind.

1:09:10.040 --> 1:09:13.439
<v Speaker 1>So what was the difference between working with Raymond Zeric

1:09:13.520 --> 1:09:15.200
<v Speaker 1>and other producers and Rob Schnow.

1:09:18.000 --> 1:09:20.040
<v Speaker 3>Rob and rare kind of similar in a lot of ways,

1:09:20.280 --> 1:09:23.519
<v Speaker 3>and that they're both geniuses and creative, wonderful, funny people

1:09:24.000 --> 1:09:25.840
<v Speaker 3>who just want us to be the best X we

1:09:25.880 --> 1:09:28.200
<v Speaker 3>can be and not really trying to change everything. But

1:09:28.240 --> 1:09:30.200
<v Speaker 3>they do come up with good ideas and we go, yeah,

1:09:30.200 --> 1:09:31.360
<v Speaker 3>that's a great idea, we'll do that.

1:09:32.280 --> 1:09:34.559
<v Speaker 2>Yeah, I would agree with that. Ray was a lot

1:09:34.600 --> 1:09:38.840
<v Speaker 2>more spiritual than Rob is. Rob doesn't get into that

1:09:38.920 --> 1:09:47.400
<v Speaker 2>as much, but it's validating and just looking for good

1:09:47.439 --> 1:09:53.559
<v Speaker 2>performances and to try to translate whatever enthusiasm and joy

1:09:53.760 --> 1:09:58.600
<v Speaker 2>that's going on or whatever's happening in the studio to

1:09:58.640 --> 1:09:59.960
<v Speaker 2>transfer that onto the tape.

1:10:02.240 --> 1:10:05.360
<v Speaker 1>Does it ever feel like an adolescent endeavor, like you're

1:10:05.400 --> 1:10:07.960
<v Speaker 1>stuck in time, that you're doing the same thing you

1:10:08.040 --> 1:10:09.320
<v Speaker 1>were doing in your twenties.

1:10:09.920 --> 1:10:13.759
<v Speaker 3>No, because we're not. Thank god, i'd be dead.

1:10:14.600 --> 1:10:17.400
<v Speaker 2>Yeah, I don't think so.

1:10:18.880 --> 1:10:21.360
<v Speaker 1>You know, there are a lot of acts who die

1:10:21.439 --> 1:10:25.839
<v Speaker 1>there here get plastic surgery. The audience goes to relive

1:10:25.880 --> 1:10:29.800
<v Speaker 1>a period in their youth. What are your audiences like?

1:10:31.040 --> 1:10:35.760
<v Speaker 2>They're multi generational and there's a lot of people who

1:10:35.760 --> 1:10:39.599
<v Speaker 2>are twenty years old and younger, and there's people who

1:10:39.640 --> 1:10:44.800
<v Speaker 2>are our age. So you don't realize how difficult it

1:10:44.880 --> 1:10:48.280
<v Speaker 2>is to get this streak of gray along with the

1:10:48.320 --> 1:10:51.920
<v Speaker 2>other It's very difficult to get that died in there.

1:10:53.400 --> 1:10:56.560
<v Speaker 2>I'm joking. Never mind, I guess it wasn't a funny.

1:10:56.320 --> 1:11:02.800
<v Speaker 5>Joke, but well you and Bonnie Raid Yes, Well I'm

1:11:02.800 --> 1:11:05.200
<v Speaker 5>proud to be compared to Bonnie Rait in any way,

1:11:05.360 --> 1:11:09.599
<v Speaker 5>if just through hair, they're multi.

1:11:09.720 --> 1:11:11.360
<v Speaker 2>There's a lot of different kinds of people, and there

1:11:11.360 --> 1:11:14.559
<v Speaker 2>always were. We didn't just have a young audience at

1:11:14.600 --> 1:11:20.559
<v Speaker 2>the beginning. They were younger, but there was some old

1:11:20.600 --> 1:11:26.200
<v Speaker 2>people way into their forties back in nineteen seventy nine.

1:11:27.000 --> 1:11:32.280
<v Speaker 2>So no plastic surgery here, not yet.

1:11:33.960 --> 1:11:37.320
<v Speaker 1>Do you have any contact with the people from the

1:11:37.680 --> 1:11:42.240
<v Speaker 1>La so called punk scene of the lead seventies, assuming

1:11:42.240 --> 1:11:43.040
<v Speaker 1>they're still alive.

1:11:45.880 --> 1:11:48.160
<v Speaker 3>I don't really because I'm not doing the online thing,

1:11:48.160 --> 1:11:52.680
<v Speaker 3>but Billy certainly does state. A lot of people just

1:11:52.720 --> 1:11:55.720
<v Speaker 3>stay in touch. I see people occasionally. We did this

1:11:55.840 --> 1:11:57.360
<v Speaker 3>TV thing and I got to see a bunch of

1:11:57.360 --> 1:12:01.200
<v Speaker 3>people at that and that was really fun. But you know,

1:12:01.520 --> 1:12:03.360
<v Speaker 3>a lot of people were part of that scene for

1:12:03.439 --> 1:12:05.240
<v Speaker 3>just a minute, and they were there because they were

1:12:05.280 --> 1:12:07.640
<v Speaker 3>important to it and it was important to them. But

1:12:07.680 --> 1:12:10.639
<v Speaker 3>they quickly moved on to other things and we kind

1:12:10.640 --> 1:12:13.000
<v Speaker 3>of stuck with the band things, so you know, everybody

1:12:13.000 --> 1:12:15.200
<v Speaker 3>went in different directions. A lot of people are gone. Also.

1:12:15.600 --> 1:12:23.160
<v Speaker 2>Yeah, I stay in touch with Robert Lopez from the Zeros. Yeah,

1:12:23.160 --> 1:12:28.360
<v Speaker 2>there's different people guilty from from uh Top Jimmy and

1:12:28.400 --> 1:12:31.120
<v Speaker 2>the Rhythm Pigs came a little bit later, but yeah,

1:12:31.160 --> 1:12:34.240
<v Speaker 2>here and there. I mean, there's there's no club that

1:12:34.360 --> 1:12:37.160
<v Speaker 2>gets together every every month.

1:12:39.800 --> 1:12:43.519
<v Speaker 1>So you've had an acting career, John, Do you watch

1:12:43.640 --> 1:12:46.280
<v Speaker 1>streaming television or movies or nothing?

1:12:46.600 --> 1:12:49.679
<v Speaker 2>Sure, I watch all kinds of stuff. I watch good

1:12:49.680 --> 1:12:53.840
<v Speaker 2>stuff and crap and all kinds of things.

1:12:54.400 --> 1:12:55.719
<v Speaker 1>Well, what's some of the good stuff.

1:12:57.320 --> 1:13:02.240
<v Speaker 2>Oh that I'm and it's kind of this is kind

1:13:02.240 --> 1:13:07.439
<v Speaker 2>of boring. But that television show Hacks was really smart

1:13:07.479 --> 1:13:11.400
<v Speaker 2>and well written. I loved watching that. I'm watching this

1:13:11.800 --> 1:13:16.400
<v Speaker 2>kind of goofy show called Outer Range with Josh Brolin

1:13:16.520 --> 1:13:23.200
<v Speaker 2>and Lily Taylor. You know, just a variety of things.

1:13:23.920 --> 1:13:30.920
<v Speaker 2>I saw the oh, the movie about the making of Fitzceraldo,

1:13:31.080 --> 1:13:34.120
<v Speaker 2>Burden of something or other, I can't remember the title

1:13:34.120 --> 1:13:37.960
<v Speaker 2>of it. And there was also a great indie movie

1:13:38.080 --> 1:13:44.200
<v Speaker 2>called La Camaro that was really beautiful, all in Italian.

1:13:44.320 --> 1:13:45.400
<v Speaker 2>So yeah, I keep up.

1:13:47.320 --> 1:13:50.920
<v Speaker 1>So for those of us who were in Los Angeles

1:13:50.960 --> 1:13:54.040
<v Speaker 1>in the lead seventies early eighties certainly aware of X.

1:13:54.560 --> 1:13:58.800
<v Speaker 1>I certainly saw X. But for people who were listening

1:13:58.880 --> 1:14:02.360
<v Speaker 1>to this who are not familiar with the music, what

1:14:02.520 --> 1:14:06.759
<v Speaker 1>can you tell them about X that they don't understand.

1:14:06.840 --> 1:14:09.479
<v Speaker 2>All they would have to do. And this isn't a

1:14:09.520 --> 1:14:15.040
<v Speaker 2>shameless plug. This just so happened to become real. All

1:14:15.120 --> 1:14:17.120
<v Speaker 2>they have to do is they have to listen to

1:14:17.160 --> 1:14:20.760
<v Speaker 2>the song Big Black X, and they can hear what

1:14:20.800 --> 1:14:25.360
<v Speaker 2>we sound like now reflecting on a lot of the

1:14:25.479 --> 1:14:32.080
<v Speaker 2>images and the experiences that we had in the late seventies.

1:14:33.400 --> 1:14:35.960
<v Speaker 2>And that song came together kind of in the studio,

1:14:36.000 --> 1:14:40.240
<v Speaker 2>which is very unlike us. And Excene had written a

1:14:40.720 --> 1:14:45.280
<v Speaker 2>couple of pages of just prose, and I thought it

1:14:45.800 --> 1:14:48.240
<v Speaker 2>was really beautiful and wanted to put it into a

1:14:48.560 --> 1:14:52.760
<v Speaker 2>lyrical form, and DJ and I developed a kind of

1:14:53.120 --> 1:14:55.360
<v Speaker 2>we're going to go through the changes this many times

1:14:55.760 --> 1:14:57.400
<v Speaker 2>for the verse, We're going to go through the change

1:14:57.479 --> 1:15:00.240
<v Speaker 2>this many times for the chorus, and then all of

1:15:00.240 --> 1:15:03.320
<v Speaker 2>the music changed and all of the lyrics changed. But

1:15:03.479 --> 1:15:07.679
<v Speaker 2>I think it's a great representation of what we have done.

1:15:08.160 --> 1:15:14.640
<v Speaker 2>It's like Past President Future because it talks about we

1:15:14.720 --> 1:15:17.559
<v Speaker 2>knew the gutter and also the future. We didn't actually

1:15:17.600 --> 1:15:21.120
<v Speaker 2>know the future in nineteen seventy eight, but we had

1:15:21.160 --> 1:15:25.679
<v Speaker 2>a clue as to what influence our kind of music

1:15:25.840 --> 1:15:33.560
<v Speaker 2>might have on music in general, so we had we

1:15:33.640 --> 1:15:38.880
<v Speaker 2>had a tiny hint and it is the present, so

1:15:38.960 --> 1:15:41.479
<v Speaker 2>it's past, present and future on one three and a

1:15:41.560 --> 1:15:43.360
<v Speaker 2>half minutes ish.

1:15:45.000 --> 1:15:47.479
<v Speaker 1>Okay. For those of you who've been listening and listening

1:15:47.479 --> 1:15:51.240
<v Speaker 1>to John Doe and Exene Cervenka from X, they have

1:15:51.360 --> 1:15:55.599
<v Speaker 1>a new album, Smoking Fiction. They're on their So Cold

1:15:55.720 --> 1:15:58.639
<v Speaker 1>Final tour. Check them out if you're interested. I want

1:15:58.680 --> 1:16:00.479
<v Speaker 1>to thank both of you for spending the time with

1:16:00.560 --> 1:16:01.200
<v Speaker 1>my audience.

1:16:01.840 --> 1:16:05.040
<v Speaker 3>Well, thanks for letting us do this, and hello to everybody,

1:16:05.040 --> 1:16:07.200
<v Speaker 3>and thank you for listening light On.

1:16:07.600 --> 1:16:10.880
<v Speaker 1>I'll see you around until next time. This is Bob

1:16:11.000 --> 1:16:11.599
<v Speaker 1>left Stets