WEBVTT - Americana Music Live with Drew Holcomb and Malcolm Gladwell

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<v Speaker 1>Pushkin. Back in the spring, I was part of a

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<v Speaker 1>traveling variety show called No Small Endeavor. It's put on

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<v Speaker 1>by a friend of mine, a theologian from Nashville named

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<v Speaker 1>Lee Camp. A bunch of us got in a big

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<v Speaker 1>tour bus left Nashville for Louisville, then Indianapolis, then Grand Rapids.

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<v Speaker 1>Lee and I told a story about the famous showdown

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<v Speaker 1>between the suffragettes and the anti slavery movement in the

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<v Speaker 1>mid nineteenth century, and then a bunch of musicians played

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<v Speaker 1>music to help us tell a story. It was one

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<v Speaker 1>of the most fun things I've ever done in my life. Anyway,

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<v Speaker 1>when you're traveling on a tour bus, you spend a

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<v Speaker 1>lot of time talking to everyone else on the tour

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<v Speaker 1>bus and along the way. I got to know the

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<v Speaker 1>musical headliner on the show, the singer songwriter Drew Holcombe,

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<v Speaker 1>and I found him so thoughtful and fantastic and full

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<v Speaker 1>of life that I invited him to come to New

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<v Speaker 1>York and sit down with me at eight twenty fours

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<v Speaker 1>in reopened Cherry Lane Theater. And to my delight and

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<v Speaker 1>I hope your delight as well, he said yes. Drew

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<v Speaker 1>is in his early forties, Beard lives in Nashville, but

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<v Speaker 1>he's from Memphis. He's maybe a country artist, although he

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<v Speaker 1>would dispute that description. His band is called the Neighbors

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<v Speaker 1>and they've been together forever. And if you've never heard

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<v Speaker 1>his music, you're going to hear more than a little

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<v Speaker 1>bit on this episode. Because I gave him only one

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<v Speaker 1>rule before we had our conversation. You have to bring

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<v Speaker 1>your guitar and it can never leave your side.

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<v Speaker 2>Here we go, all right, all right, welcome everybody to

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<v Speaker 2>the Cherry Lane Theater.

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<v Speaker 1>It's gonna be a great evening.

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<v Speaker 3>I want you guys to welcome Malcolm Gladwell and Drew Holcomb.

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<v Speaker 2>Good evening. I'll get it started with a song.

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<v Speaker 4>All right.

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<v Speaker 5>I am fairthe well Now, I am strong, I am goodbye,

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<v Speaker 5>long way from home. I am an orchard at the

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<v Speaker 5>start of spring. I am a mocking bird. I love

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<v Speaker 5>to you singing.

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<v Speaker 1>Now.

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<v Speaker 4>I'm gonna fly. I'm gonna fly.

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<v Speaker 5>I am an old road walking on my feet. I

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<v Speaker 5>am laughing me weeping willow tree. I'm a dog barkain

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<v Speaker 5>a honey bee steam. I ain't annoying you, bude. I've

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<v Speaker 5>got my wings. I'm gonna fly. I'm going to fly.

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<v Speaker 6>I'm gonna fly. I'm gonna fly. I'm gonna fly.

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<v Speaker 4>I'm going to fly. I am moving, I.

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<v Speaker 5>Am flashing bones, I am a gunshot with my microphone.

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<v Speaker 4>I'm a boy at.

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<v Speaker 5>The window as the summer sun sets, an old man

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<v Speaker 5>in winter, nothing more, nothing less, And.

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<v Speaker 7>I'm gonna fly. I'm gonna fly, I'm gonna fly.

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<v Speaker 1>Tell me why you chose that to start with?

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<v Speaker 2>Well, that's my favorite one I've ever written. I just

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<v Speaker 2>figure when I get nervous, just play something you like.

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<v Speaker 1>You know, when when did you write that song?

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<v Speaker 2>I wrote that song probably January of twenty twenty two.

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<v Speaker 2>I always tend to write a lot of songs right around,

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<v Speaker 2>mainly after New Year's It's a good time to kind

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<v Speaker 2>of get in your feelings and introspection about your life,

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<v Speaker 2>about the world around you, and it tends to be

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<v Speaker 2>a creative season for me.

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<v Speaker 1>How do you decide you say that's the favorite your

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<v Speaker 1>favorite song you've ever written?

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<v Speaker 2>Probably?

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<v Speaker 1>Yeah, Why what is it about that song? Though? Well?

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<v Speaker 2>It was it was something about the song kind of

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<v Speaker 2>came out of this. I just turned forty around that time,

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<v Speaker 2>and I actually enjoyed all the way things that I

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<v Speaker 2>felt after turning forty. Everybody told me I should be

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<v Speaker 2>afraid of them, but I actually really enjoyed them. Also,

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<v Speaker 2>was kind of born in old soul. My mom said,

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<v Speaker 2>I was born an old man. I felt comfortable in

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<v Speaker 2>that transition already, just because of sort of how I am.

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<v Speaker 2>I started writing a song with the lyric started I'm

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<v Speaker 2>a boy at the window as the summer sunsets. I

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<v Speaker 2>have this keen memory for my childhood of being told

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<v Speaker 2>to go to bed before the sun went down in

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<v Speaker 2>the summertime, you know, and staring at the window and

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<v Speaker 2>seeing my neighbor whose parents let him stay up, and

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<v Speaker 2>being sort of full of jealousy but also sort of

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<v Speaker 2>full of wonder. And then also, even though I'm not old,

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<v Speaker 2>I feel certain I feel old in certain ways, and

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<v Speaker 2>I sort of this song is kind of in the tension,

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<v Speaker 2>is me just sort of embracing the tension of that,

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<v Speaker 2>And that tension feels more and more what I see

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<v Speaker 2>when I look in the mirror. And so when I'll

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<v Speaker 2>play that song, I feel it's like a blanket for me,

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<v Speaker 2>you know. And I also finally let myself admit that

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<v Speaker 2>I like my own music. You're not supposed to do that,

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<v Speaker 2>But I do like my own music.

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<v Speaker 1>Why you're not supposed to do that.

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<v Speaker 2>It's just a you know, cultural thing you shouldn't. You know,

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<v Speaker 2>if you drive down the street and see an artist

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<v Speaker 2>listening to their own music, you might think, man, what

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<v Speaker 2>an arrogant guy. But which that happens to me with

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<v Speaker 2>my kids sometimes because they want to hear my songs.

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<v Speaker 2>I just look at people, you know, hey, yep to

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<v Speaker 2>me listening to my own song.

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<v Speaker 1>Yeah, how would you describe the genre that that song

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<v Speaker 1>belongs to?

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<v Speaker 2>You know, I growing up, I was the music that

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<v Speaker 2>I listened to a lot sort of fit in either

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<v Speaker 2>categories of folk or rock and roll, some country, soul,

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<v Speaker 2>folk rock was sort of how I framed it before

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<v Speaker 2>this sort of ubiquitous word of Americana kind of came around,

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<v Speaker 2>and it felt like they created a sort of a

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<v Speaker 2>an institutional home for artists like myself who are definitely

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<v Speaker 2>not country in the sort of commercial sense, and we're

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<v Speaker 2>not rock in the sort of new radio sense, and

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<v Speaker 2>we were a bit homeless. There's a lot of us,

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<v Speaker 2>and so it kind of created this. So that's what

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<v Speaker 2>I say now is Americana. But one of the great

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<v Speaker 2>things about being in a you know, quote unquote Americana

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<v Speaker 2>artist is there's not really a lot of rules about

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<v Speaker 2>what you make, how you make whether the song has

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<v Speaker 2>five stanzas and no chorus or you know, horns or whatever.

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<v Speaker 2>You can kind of do whatever you want. It just

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<v Speaker 2>has to be sort of made by real people in

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<v Speaker 2>a you know, in a real sense.

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<v Speaker 1>You're you're from Tennessee and you live in Nashville, but

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<v Speaker 1>you you take great pains to distance yourself from country music.

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<v Speaker 2>Well it all started. I'm from Memphis, which is, you know,

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<v Speaker 2>two hundred miles west and a bit south of Nashville,

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<v Speaker 2>and we were raised Memphians are sort of it's it's

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<v Speaker 2>baked into your childhood and you're up bringing to hate Nashville. Yeah,

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<v Speaker 2>it's it's part of how you're raised. For instance, I

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<v Speaker 2>my parents, every fall we would drive to Knoxville, where

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<v Speaker 2>they attended school, and we'd go to a Tennessee football game.

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<v Speaker 2>And that's a three hundred and eighty seven mile drive.

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<v Speaker 2>So in eighteen years, let's say we did it. I

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<v Speaker 2>don't know, maybe sixteen times in my childhood that I

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<v Speaker 2>that I can recall, and so thirty two times through

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<v Speaker 2>Nashville we stopped zero times and I forty goes right

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<v Speaker 2>through the middle of town, and my dad would just say,

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<v Speaker 2>there's a state capital, keep bomb moving. So we grew

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<v Speaker 2>up admiring. You know, there was some country that sort

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<v Speaker 2>of leaked into my childhood. I think there's perceptions of

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<v Speaker 2>folks outside of the South that like, everybody in the

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<v Speaker 2>South just listen to country music. We listened to motown

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<v Speaker 2>and Bob Dylan and Amy Grant, you know, like it

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<v Speaker 2>was this interesting mix of like gospel music and you know,

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<v Speaker 2>black soul music and then all the my dad loved

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<v Speaker 2>all the sort of contemporary seventies songwriter stuff, and so

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<v Speaker 2>there was not a lot of country music in it. Yeah, yeah,

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<v Speaker 2>in my childhood.

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<v Speaker 1>I want to talk a little bit more about Memphis and

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<v Speaker 1>Nashville in your mind. What is the difference between Memphis

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<v Speaker 1>and Nashville.

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<v Speaker 2>Well, practically speaking, I mean, Memphis is a very it's

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<v Speaker 2>a hometown city, meaning that most of the people that

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<v Speaker 2>live there grew up there. I had family from there,

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<v Speaker 2>grew up in the surrounding, you know, one hundred mile radius,

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<v Speaker 2>whereas Nashville attracts people from all over the country, especially

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<v Speaker 2>in the last fifteen to twenty years, and so it's

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<v Speaker 2>a much sort of work. Those two realities create different,

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<v Speaker 2>very different cultures. In Memphis, everybody knows each other and

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<v Speaker 2>you know, where'd you go to school and who do

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<v Speaker 2>you know. It's a bit of that small town, big

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<v Speaker 2>city experience, whereas in Nashville, so many young people move

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<v Speaker 2>there because of what the city can offer them, the

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<v Speaker 2>opportunities that may springboard out of living there. And then

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<v Speaker 2>it's a center for I mean the big employers in

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<v Speaker 2>Nashville or the music business and healthcare, which are both

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<v Speaker 2>sort of booming and transient jobs, Whereas Memphis it's you know,

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<v Speaker 2>these big blue collar companies like FedEx and AutoZone, and

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<v Speaker 2>so just creates very different cultures. And then you know, racially,

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<v Speaker 2>Memphis is majority African American town. Nashal is very lily white,

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<v Speaker 2>you know, so they're just they're they're very different. My

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<v Speaker 2>favorite story to tell about about Nashville and I moved there,

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<v Speaker 2>was Memphis is a great food town, especially cheap food,

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<v Speaker 2>you know, Tamali's and barbecue and great unique pizza, and

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<v Speaker 2>it's just a very you know, being a river town,

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<v Speaker 2>there's a lot of transients over decades, so you get

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<v Speaker 2>a lot of unique food, and Nashville had basically nothing

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<v Speaker 2>that I that I wanted to eat, and I would

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<v Speaker 2>just complain to my wife. I was like, that's nice here.

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<v Speaker 2>I know you're from here and that's why I moved here,

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<v Speaker 2>but there's nothing to eat here that I want to eat.

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<v Speaker 2>And then fast forward almost twenty years and it's one

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<v Speaker 2>of the greatest food towns you know, in the country.

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<v Speaker 2>Everything's there now, so it's it's changing. It's it's a

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<v Speaker 2>very sort of get evolving and fluid place.

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<v Speaker 1>Maybe you can explain my favorite joke. It's my favorite

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<v Speaker 1>joke because I I feel it has many, many layers,

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<v Speaker 1>many of which I don't understand. It's a joke from

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<v Speaker 1>the Civil Rights Movement era. Black man in Detroit wakes

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<v Speaker 1>up in the middle of the night, it's one of

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<v Speaker 1>those people who come off from the South, you know,

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<v Speaker 1>and then turns to his wife and said, I had

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<v Speaker 1>a terrible dream, and she said, what happened? He said,

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<v Speaker 1>I dreamt that Jesus came to me and told me

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<v Speaker 1>to go to Birmingham. And she says, did Jesus say

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<v Speaker 1>go with you? He says, Jesus said, he go as

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<v Speaker 1>far as Memphis.

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<v Speaker 2>That's a great joke, isn't it that?

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<v Speaker 1>It's my favorite joke of all time. It is, like

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<v Speaker 1>I said, because it's a joke about Jesus who said

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<v Speaker 1>he would be with us always, but not in Birmingham,

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<v Speaker 1>not Burmiam. Yeah, it's a joke about Birmingham.

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<v Speaker 2>Like, it's definitely a joke at the expression Birmingham, dark,

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<v Speaker 2>dark joker.

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<v Speaker 1>But like, why did Jesus stop at Memphis?

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<v Speaker 2>Well, because, I mean, Jesus would love Memphis. There's there's

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<v Speaker 2>great food, there's great hospitality, there's great music, Like Jesus

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<v Speaker 2>would thrive there. Yeah, that was my experience. Jesus thrived

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<v Speaker 2>in Memphis.

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<v Speaker 1>You listened, Well, I want to go back to that

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<v Speaker 1>mixture of things you would listening to as a kid, Motown,

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<v Speaker 1>Amy Grant, What was the third one?

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<v Speaker 2>Bob Dylan.

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<v Speaker 1>That's a fantastic and unusual mix of things to be

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<v Speaker 1>exposed to. This is is this your father or your

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<v Speaker 1>mother's doing? Let's put both both.

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<v Speaker 2>Yeah, So my dad grew up in the and you know,

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<v Speaker 2>my parents met in the third grade, and so they

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<v Speaker 2>they grew up seven or eight like blocks from each other.

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<v Speaker 2>So there's this very sort of I one of twenty

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<v Speaker 2>eight grandkids. It's like a very yeah, there's a lot

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<v Speaker 2>going on there. That's just on my mom's side. That

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<v Speaker 2>didn't include my dad's side.

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<v Speaker 1>So wait, there's twenty eight grand kids on your bomb's.

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<v Speaker 2>Side, that's right. Yeah, and I remember fourteen or fifteen,

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<v Speaker 2>I can't remember, but yeah, yeah.

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<v Speaker 1>So.

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<v Speaker 5>Very like.

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<v Speaker 2>It'd be hard to overstate how sort of like central

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<v Speaker 2>Christianity and religion was to my upbringing. Part of that

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<v Speaker 2>was that when I was apparently when I was like

0:14:35.516 --> 0:14:37.156
<v Speaker 2>I don't even know how old, three, four or five

0:14:37.196 --> 0:14:40.716
<v Speaker 2>years old, someone from the church came to my parents'

0:14:40.716 --> 0:14:43.116
<v Speaker 2>house and they were everybody in their church was doing

0:14:43.156 --> 0:14:46.076
<v Speaker 2>like a record clean out of things in their house

0:14:46.116 --> 0:14:48.276
<v Speaker 2>that weren't honoring to God, and so they would get

0:14:48.356 --> 0:14:51.476
<v Speaker 2>rid of all these records that when I heard about

0:14:51.476 --> 0:14:53.596
<v Speaker 2>this in high school, I wept. I was like, oh, Dad,

0:14:53.596 --> 0:14:57.076
<v Speaker 2>you had all of these great records and original copies

0:14:57.716 --> 0:14:59.516
<v Speaker 2>that they managed there out because it was the Devil's

0:14:59.556 --> 0:15:03.636
<v Speaker 2>music that was really too bad. You know, a lot

0:15:03.636 --> 0:15:05.636
<v Speaker 2>of led Zeppelin got thrown out and things like that.

0:15:05.836 --> 0:15:07.636
<v Speaker 2>You know, I mean, come on, yeah, gotta get rid

0:15:07.676 --> 0:15:11.196
<v Speaker 2>of it, which we could. We'll come back to this.

0:15:11.236 --> 0:15:14.316
<v Speaker 2>But my first record I ever bought was Pearl Jams ten.

0:15:14.356 --> 0:15:15.956
<v Speaker 2>I was eleven year I actually got it for Christmas

0:15:16.556 --> 0:15:22.156
<v Speaker 2>from Santa Claus and my dad broke the record by

0:15:22.236 --> 0:15:24.756
<v Speaker 2>five pm on Christmas Day because we had to go

0:15:24.796 --> 0:15:27.276
<v Speaker 2>through the liner notes together and there's drug references and

0:15:27.356 --> 0:15:29.276
<v Speaker 2>he's like, you're too young for this and break. So

0:15:29.716 --> 0:15:33.116
<v Speaker 2>this was you know, an intense, an intense scene. But

0:15:33.116 --> 0:15:34.996
<v Speaker 2>that some of the things that made it through the

0:15:35.316 --> 0:15:38.996
<v Speaker 2>gauntlet was Bob Dylan's evangelical records of course, you know,

0:15:39.236 --> 0:15:43.756
<v Speaker 2>slow Train Coming Saved and there's another one. And then

0:15:43.956 --> 0:15:46.596
<v Speaker 2>because he still made it in there somehow his old

0:15:46.636 --> 0:15:51.556
<v Speaker 2>records also got a pass. Ye got grandfather in Yeah,

0:15:52.076 --> 0:15:54.196
<v Speaker 2>and he was Jewish, so there's like a thing there too,

0:15:54.476 --> 0:15:58.356
<v Speaker 2>you know, you're allowed to have records made by Jewish artists.

0:15:58.396 --> 0:16:04.236
<v Speaker 2>So and then Motown was like it was all you

0:16:04.236 --> 0:16:07.916
<v Speaker 2>could listen to Motown except for like, what's the you know,

0:16:07.956 --> 0:16:09.996
<v Speaker 2>the great the market record just blinking off side of

0:16:10.156 --> 0:16:12.076
<v Speaker 2>Sexual Healing of course, well yeah, yeah, but the name

0:16:12.116 --> 0:16:13.076
<v Speaker 2>of the record, what's going on?

0:16:13.676 --> 0:16:15.116
<v Speaker 1>Oh, what's going on? Yeah?

0:16:15.156 --> 0:16:17.396
<v Speaker 2>Oh, sexual Healing would have been was on that record,

0:16:17.436 --> 0:16:17.756
<v Speaker 2>wasn't it.

0:16:18.716 --> 0:16:20.596
<v Speaker 1>No, what's going on is earlier sex. I was saying,

0:16:20.636 --> 0:16:22.076
<v Speaker 1>sexual really is so far beyond.

0:16:21.876 --> 0:16:23.516
<v Speaker 2>Oh yeah, yeah, you can only hear that the only

0:16:23.516 --> 0:16:25.156
<v Speaker 2>the only way you could hear that in my childhood

0:16:25.156 --> 0:16:28.236
<v Speaker 2>was at a wedding by the by the cover band

0:16:28.356 --> 0:16:30.956
<v Speaker 2>you know, and and so, and it still felt awkward

0:16:31.316 --> 0:16:35.596
<v Speaker 2>for everybody. But uh so, yeah there was so then

0:16:35.676 --> 0:16:38.556
<v Speaker 2>any Christian music was okay. Bob Dylan was okay, and

0:16:38.716 --> 0:16:40.196
<v Speaker 2>motown was okay because it was just a bunch of

0:16:40.276 --> 0:16:43.076
<v Speaker 2>love songs and clean oldies stuff, you know, before the

0:16:43.236 --> 0:16:46.556
<v Speaker 2>music business cut. You know, Amy messed up.

0:16:46.676 --> 0:16:51.276
<v Speaker 1>Can you explain to a heathen New York City audience

0:16:52.836 --> 0:16:55.316
<v Speaker 1>who Ammy Grant is and why she's important? Yeah?

0:16:55.356 --> 0:16:58.116
<v Speaker 2>Ammy Grant was sort of I mean, the whole genre

0:16:58.196 --> 0:17:01.476
<v Speaker 2>of contemporary Christian music was there was Southern gospel, which

0:17:01.516 --> 0:17:05.276
<v Speaker 2>is a whole different thing. So it's basically take the

0:17:05.316 --> 0:17:08.996
<v Speaker 2>songwriter model and people started applying it to their faith stories,

0:17:09.916 --> 0:17:12.276
<v Speaker 2>which this all predates the whole Now, the big thing

0:17:12.356 --> 0:17:15.396
<v Speaker 2>is all this big ensemble worship stuff, which was basically

0:17:15.436 --> 0:17:17.916
<v Speaker 2>like every all these church bands trying to sound like

0:17:17.916 --> 0:17:21.596
<v Speaker 2>coldplaying you two. So Amy Grant was like this young

0:17:22.036 --> 0:17:26.116
<v Speaker 2>songwriter and she was. They created old radio sort of

0:17:26.876 --> 0:17:29.516
<v Speaker 2>format around artists like her, and she became the most

0:17:29.596 --> 0:17:31.676
<v Speaker 2>most famous and successful. And then she had a crossover

0:17:31.716 --> 0:17:36.276
<v Speaker 2>pop hit called baby Baby that sort of sent her

0:17:36.276 --> 0:17:41.796
<v Speaker 2>into regular superstardom. And yeah, she was just a very

0:17:42.476 --> 0:17:46.596
<v Speaker 2>beloved woman and she's she's also as a human, she's like,

0:17:46.836 --> 0:17:49.876
<v Speaker 2>she's honestly one of the greatest ones I've ever met. Yeah,

0:17:50.636 --> 0:17:52.756
<v Speaker 2>I know her because my wife knew her. But I've

0:17:52.796 --> 0:17:56.276
<v Speaker 2>moved to Nashville again sort of like country and Christian music.

0:17:56.276 --> 0:17:58.836
<v Speaker 2>This town sucks, you know, And then I got to

0:17:58.836 --> 0:18:00.476
<v Speaker 2>know these people. I was like, Wow, these people are

0:18:00.476 --> 0:18:03.396
<v Speaker 2>all really great. This is tough.

0:18:04.516 --> 0:18:07.756
<v Speaker 1>Wait what so wait what what denomination were your parents?

0:18:07.916 --> 0:18:10.716
<v Speaker 2>Yeah? They they were They went like an independent Bible church.

0:18:10.956 --> 0:18:11.116
<v Speaker 1>Yeah.

0:18:11.196 --> 0:18:14.276
<v Speaker 2>Yeah, so it was non denominational. It's very they're very

0:18:14.276 --> 0:18:14.796
<v Speaker 2>proud of that.

0:18:15.076 --> 0:18:18.076
<v Speaker 1>Yeah. I was asking you about other music that that

0:18:18.996 --> 0:18:21.356
<v Speaker 1>made it in Yeah.

0:18:22.076 --> 0:18:29.436
<v Speaker 2>I think basically my parents were pretty okay with all

0:18:29.516 --> 0:18:31.476
<v Speaker 2>the classics. So we would go see you know, you

0:18:31.476 --> 0:18:34.156
<v Speaker 2>could go see Paul Simon. They built the Pyramid in

0:18:34.236 --> 0:18:36.596
<v Speaker 2>Memphis when I was a kid, which was a new

0:18:36.596 --> 0:18:41.636
<v Speaker 2>arena where the Memphis Tigers played, and so I got

0:18:41.676 --> 0:18:43.076
<v Speaker 2>a job there in high school as a part of

0:18:43.076 --> 0:18:44.436
<v Speaker 2>the event staff, and so I got to see all

0:18:44.476 --> 0:18:46.676
<v Speaker 2>these concerts for free by telling people to stop smoking,

0:18:47.356 --> 0:18:51.396
<v Speaker 2>you know, and had my little yellow shirt on, and

0:18:51.756 --> 0:18:55.636
<v Speaker 2>you know, anything from boys to men as easy top

0:18:55.796 --> 0:18:59.596
<v Speaker 2>to whatever could sell fifteen thousand tickets. I was, you know,

0:19:00.116 --> 0:19:04.276
<v Speaker 2>exposed to at a certain point that sort of the

0:19:04.356 --> 0:19:07.756
<v Speaker 2>rules weren't really that well enforced. It was a sort

0:19:07.756 --> 0:19:09.796
<v Speaker 2>of a young when we were young, was very much

0:19:09.836 --> 0:19:12.716
<v Speaker 2>that way. But our alarm clock every day growing up

0:19:12.796 --> 0:19:16.516
<v Speaker 2>was my mom played piano and she would play hymns

0:19:16.636 --> 0:19:18.076
<v Speaker 2>like that was get up and go to school. It

0:19:18.076 --> 0:19:21.236
<v Speaker 2>was like up from the gravey your roles, you know.

0:19:21.716 --> 0:19:23.356
<v Speaker 2>She was like a whole her like whole play on

0:19:23.476 --> 0:19:24.876
<v Speaker 2>get up and go to school. You know.

0:19:26.276 --> 0:19:27.316
<v Speaker 1>But that's fantastic.

0:19:27.396 --> 0:19:30.276
<v Speaker 2>Yeah, that's great. Yeah, daily it's got a great sense

0:19:30.316 --> 0:19:30.676
<v Speaker 2>of humor.

0:19:30.796 --> 0:19:35.116
<v Speaker 1>Yeah. I have a theory which I very grandiosely call

0:19:35.756 --> 0:19:42.036
<v Speaker 1>Gladwell's theory of asymmetrical parenting, which is that at any

0:19:42.076 --> 0:19:45.596
<v Speaker 1>given moment, when we account for our parental influence on

0:19:45.636 --> 0:19:50.876
<v Speaker 1>our lives, we only talk about one parent. It can

0:19:51.036 --> 0:19:54.516
<v Speaker 1>change over time, but you try to sound on somebody

0:19:54.556 --> 0:19:57.716
<v Speaker 1>you ask somebody, Yeah, so what are your parents? People

0:19:57.716 --> 0:20:01.076
<v Speaker 1>will never talk about their parents. They will the minute

0:20:01.116 --> 0:20:02.596
<v Speaker 1>you dig into it. They only talk about one for

0:20:02.636 --> 0:20:06.636
<v Speaker 1>a while. So I would like you to give me

0:20:06.636 --> 0:20:12.356
<v Speaker 1>an asymmetrical parental theory of the jew Holcomb childhood.

0:20:14.556 --> 0:20:16.716
<v Speaker 2>I completely disagree with that theory.

0:20:19.316 --> 0:20:21.956
<v Speaker 1>I'm not saying that you only get only one mattered.

0:20:21.956 --> 0:20:24.756
<v Speaker 1>I'm saying that at any given moment, only one matters.

0:20:24.916 --> 0:20:28.796
<v Speaker 2>Yeah, in a particular story.

0:20:28.036 --> 0:20:31.476
<v Speaker 1>Right, So it may be from you know, in high

0:20:31.516 --> 0:20:33.476
<v Speaker 1>school it's only your mom, and then in college it's

0:20:33.476 --> 0:20:33.796
<v Speaker 1>only you.

0:20:35.556 --> 0:20:41.756
<v Speaker 2>Yeah, that's my parents are going to listen to this probably.

0:20:41.796 --> 0:20:43.276
<v Speaker 1>You know, yeah, yeah, that's the whole point.

0:20:44.276 --> 0:20:46.116
<v Speaker 2>Yeah.

0:20:46.556 --> 0:20:46.796
<v Speaker 1>Yeah.

0:20:46.956 --> 0:20:51.876
<v Speaker 2>I think we were actually talking earlier back backstage about

0:20:51.876 --> 0:20:55.796
<v Speaker 2>how as as dads, you sometimes get this free pass

0:20:55.876 --> 0:20:58.876
<v Speaker 2>that it's almost like, and I've seen this, I have

0:20:58.916 --> 0:21:01.996
<v Speaker 2>three children that, especially with my daughter, she sort of

0:21:01.996 --> 0:21:06.276
<v Speaker 2>defaults to dad, you're doing great, You're awesome, even if

0:21:06.676 --> 0:21:08.476
<v Speaker 2>my wife, Ellie has done all of the hard work

0:21:08.476 --> 0:21:11.596
<v Speaker 2>that day the parenting space. So with that said, I

0:21:11.596 --> 0:21:13.636
<v Speaker 2>think that that's probably true in a lot of ways

0:21:13.636 --> 0:21:15.436
<v Speaker 2>that my dad had sort of an outside influence.

0:21:15.756 --> 0:21:17.196
<v Speaker 1>What did your dad do well?

0:21:17.236 --> 0:21:21.516
<v Speaker 2>He was a dentist and then he hated it, so

0:21:21.556 --> 0:21:27.756
<v Speaker 2>he quit and became a financial advisor. Seriously true story.

0:21:28.076 --> 0:21:32.076
<v Speaker 1>This reminds me of one of my favorite stories about

0:21:32.356 --> 0:21:34.596
<v Speaker 1>a friend of mine whose dad was an investment banker,

0:21:34.796 --> 0:21:40.796
<v Speaker 1>and he once had a long heart to heart with

0:21:40.836 --> 0:21:43.476
<v Speaker 1>his daughter and my friend about how he felt his

0:21:44.316 --> 0:21:46.876
<v Speaker 1>career had been misspent and he made a series of

0:21:46.956 --> 0:21:48.996
<v Speaker 1>terrible choices and he had squattered his life in a

0:21:48.996 --> 0:21:51.636
<v Speaker 1>profession with no meaning. And she was very moved by

0:21:51.636 --> 0:21:53.676
<v Speaker 1>this because she didn't realize her father had this other side.

0:21:53.796 --> 0:21:55.876
<v Speaker 1>And she said, Dad, so what do you think you

0:21:55.916 --> 0:21:58.916
<v Speaker 1>should have been? And he says, I think I should

0:21:58.916 --> 0:22:06.516
<v Speaker 1>have been a tax attorney. That's kind of like what

0:22:06.516 --> 0:22:08.556
<v Speaker 1>you're hearing here is kind of like, but your dad did.

0:22:08.836 --> 0:22:12.156
<v Speaker 8>Yeah, well, he he said that he was just very

0:22:12.836 --> 0:22:18.076
<v Speaker 8>he was very sort of bored by the monotony of

0:22:18.156 --> 0:22:21.996
<v Speaker 8>dentistry and how he's he's he's very extrovert, and he

0:22:22.076 --> 0:22:24.436
<v Speaker 8>was trying to have conversations with people and they couldn't

0:22:24.516 --> 0:22:25.596
<v Speaker 8>because you know.

0:22:26.676 --> 0:22:28.556
<v Speaker 1>Oh, he was one of those annoying dentists who's like

0:22:28.556 --> 0:22:30.396
<v Speaker 1>asking you questions and you're six seventeen.

0:22:31.476 --> 0:22:33.436
<v Speaker 2>Well, and I think Honestly, I think it was a

0:22:33.876 --> 0:22:36.116
<v Speaker 2>It was a serious crossroads for him because he'd spent

0:22:36.156 --> 0:22:39.596
<v Speaker 2>he put himself through dental school selling jewelry out of

0:22:39.596 --> 0:22:42.916
<v Speaker 2>a tackle box. This is like he he worked his

0:22:43.116 --> 0:22:46.676
<v Speaker 2>way really hard to get himself this you know job,

0:22:46.876 --> 0:22:50.316
<v Speaker 2>and and this career. But then a decade in he

0:22:50.396 --> 0:22:54.356
<v Speaker 2>realized how much he really did not enjoy it and

0:22:54.996 --> 0:22:56.356
<v Speaker 2>found a way out of it. Took him. It was

0:22:56.516 --> 0:22:58.596
<v Speaker 2>it wasn't like an immediate transition. He went to one

0:22:58.636 --> 0:23:00.596
<v Speaker 2>day a week to doing the other thing, to two

0:23:00.636 --> 0:23:02.156
<v Speaker 2>days a week doing the other thing, to half and half,

0:23:02.196 --> 0:23:05.116
<v Speaker 2>and then eventually, when I was in high school, sold

0:23:05.116 --> 0:23:08.396
<v Speaker 2>this practice and went the full time the other direction.

0:23:08.876 --> 0:23:11.716
<v Speaker 2>He loved music and he had wanted to pursue music

0:23:11.716 --> 0:23:13.036
<v Speaker 2>in high school. He wanted to be in a like

0:23:13.196 --> 0:23:15.596
<v Speaker 2>a in a garage band. And his dad, who was

0:23:15.636 --> 0:23:19.596
<v Speaker 2>even more strict, you know than my parents' generation, basically

0:23:19.796 --> 0:23:21.956
<v Speaker 2>was the cutcher here. And don't you you know he

0:23:21.996 --> 0:23:24.396
<v Speaker 2>has a story, he says, he tells the story about

0:23:24.476 --> 0:23:26.956
<v Speaker 2>my grandfather. They're driving in the car and my grandfather

0:23:27.076 --> 0:23:31.716
<v Speaker 2>smoked cigarettes and non stop and Bill Withers lean on

0:23:31.756 --> 0:23:33.636
<v Speaker 2>me was on the radio and Dad was like fourteen

0:23:33.716 --> 0:23:36.236
<v Speaker 2>years old in the passenger seat, and it's that part

0:23:36.276 --> 0:23:39.236
<v Speaker 2>of the song where if you need a friend, call me,

0:23:40.476 --> 0:23:44.716
<v Speaker 2>you just call me. And my grandfather was a jazz guy.

0:23:44.756 --> 0:23:47.596
<v Speaker 2>He hated popular music. He said, finally takes a dragon

0:23:47.676 --> 0:23:49.716
<v Speaker 2>cigarette after about this, the seventh or eighth that called me,

0:23:49.716 --> 0:23:55.276
<v Speaker 2>and he goes, well, just call him, damn it. So

0:23:55.556 --> 0:23:58.836
<v Speaker 2>he had this like weird relationship where his father squashed

0:23:58.876 --> 0:24:04.996
<v Speaker 2>his creative dreams. And so I think when I sort

0:24:04.996 --> 0:24:10.596
<v Speaker 2>of showed interest in this, he he just launched fully

0:24:10.596 --> 0:24:13.196
<v Speaker 2>in with me. Oh really, yeah, you know the first

0:24:13.196 --> 0:24:16.836
<v Speaker 2>thing I told him I wanted to pursue music. I

0:24:16.836 --> 0:24:18.796
<v Speaker 2>had like an okay guitar and he's like, well, let's

0:24:18.836 --> 0:24:21.036
<v Speaker 2>go to the guitar shop. Let's get you. Let's get

0:24:21.076 --> 0:24:23.356
<v Speaker 2>you something nice. You know, if you're if you're really

0:24:23.396 --> 0:24:25.276
<v Speaker 2>gonna work hard at it, I'm in your corner.

0:24:25.436 --> 0:24:25.636
<v Speaker 1>Yeah.

0:24:25.636 --> 0:24:27.156
<v Speaker 2>That was his two rules, where if you're gonna work

0:24:27.196 --> 0:24:29.556
<v Speaker 2>hard at it, And then he said, and promise me

0:24:29.556 --> 0:24:31.556
<v Speaker 2>that if it's not working, you'll know when to walk

0:24:31.596 --> 0:24:33.036
<v Speaker 2>away and move on with your life. And he could

0:24:33.076 --> 0:24:35.956
<v Speaker 2>say that from experience because he walked away from something.

0:24:36.276 --> 0:24:38.316
<v Speaker 2>You know, he didn't just stick with the career that

0:24:38.356 --> 0:24:40.876
<v Speaker 2>he chose as a nineteen year old, really because he

0:24:40.876 --> 0:24:44.076
<v Speaker 2>started dental school. Back then, you didn't have to get

0:24:44.116 --> 0:24:45.476
<v Speaker 2>a college degree to go to dental school. You just

0:24:45.476 --> 0:24:47.396
<v Speaker 2>had to get the preres, which he did in three

0:24:47.396 --> 0:24:49.516
<v Speaker 2>semesters and then started dental school as a nineteen year old.

0:24:50.076 --> 0:24:52.116
<v Speaker 1>So did you play another song?

0:24:52.236 --> 0:25:00.556
<v Speaker 2>Yeah, sure, all right, I'll uh since this is sort

0:25:00.556 --> 0:25:04.156
<v Speaker 2>of symmetrical. Asymmetrical, I'm gonna go down the street to

0:25:04.196 --> 0:25:09.796
<v Speaker 2>my grandparents' house. I grew up five doors down the

0:25:09.796 --> 0:25:13.476
<v Speaker 2>street from my grandfather, who was this sort of lion

0:25:14.076 --> 0:25:15.396
<v Speaker 2>of a man. He was a bit of a big

0:25:15.436 --> 0:25:19.756
<v Speaker 2>fish personality. He would tell these stories. He didn't know

0:25:19.796 --> 0:25:21.236
<v Speaker 2>how much of it was true and how much of

0:25:21.276 --> 0:25:26.756
<v Speaker 2>it was fiction. Lived a very interesting life. Was a surgeon,

0:25:27.876 --> 0:25:32.516
<v Speaker 2>was the chief of surgery in Tokyo immediately following World

0:25:32.516 --> 0:25:37.276
<v Speaker 2>War II. Operated on Admiral Dagano two weeks before he

0:25:37.356 --> 0:25:41.476
<v Speaker 2>was executed. Like, he just has these like wild stories

0:25:41.516 --> 0:25:43.996
<v Speaker 2>in his life, and one of them was that he

0:25:44.196 --> 0:25:46.036
<v Speaker 2>told the story about how he went to England with

0:25:46.116 --> 0:25:51.036
<v Speaker 2>his friend who raised Labrador retrievers, who got invited to

0:25:51.036 --> 0:25:54.836
<v Speaker 2>this dog trial at the Queens of State and so

0:25:54.876 --> 0:25:56.556
<v Speaker 2>he went, and he was very old and couldn't walk

0:25:56.556 --> 0:25:58.676
<v Speaker 2>around very well, and he came back with this wild

0:25:58.676 --> 0:26:01.676
<v Speaker 2>story about how he got to ride around the Queens

0:26:01.716 --> 0:26:04.436
<v Speaker 2>of State in the Queen's Land River with her driving it,

0:26:06.636 --> 0:26:08.636
<v Speaker 2>and we were all like, sure you know, sure you did.

0:26:12.436 --> 0:26:14.476
<v Speaker 2>And he passed away about six years later, and we

0:26:14.516 --> 0:26:19.276
<v Speaker 2>got a letter from the Queen Secretary sending her regrets

0:26:19.756 --> 0:26:22.276
<v Speaker 2>of his passing and sharing how much the Queen enjoyed

0:26:22.276 --> 0:26:27.916
<v Speaker 2>the day she spent with him driving around her estate

0:26:28.476 --> 0:26:29.236
<v Speaker 2>in her land Rover.

0:26:29.556 --> 0:26:32.356
<v Speaker 1>So there you go.

0:26:32.556 --> 0:26:34.916
<v Speaker 2>I wrote this song about him many years after he died.

0:26:36.156 --> 0:26:39.836
<v Speaker 2>He just had a huge influence on me, and songs

0:26:39.876 --> 0:26:40.596
<v Speaker 2>called dragons.

0:26:46.516 --> 0:26:47.796
<v Speaker 4>I was climbing a mountain.

0:26:49.876 --> 0:26:55.156
<v Speaker 5>A sleep in the moonlight goes to my Grandpaul came

0:26:55.236 --> 0:26:58.356
<v Speaker 5>to me in a dream, as.

0:26:58.236 --> 0:26:59.916
<v Speaker 2>A star was hung above us.

0:27:00.476 --> 0:27:02.916
<v Speaker 4>He started singing this chorus.

0:27:03.836 --> 0:27:07.836
<v Speaker 5>He laughed loud as head and said this to me,

0:27:09.756 --> 0:27:15.796
<v Speaker 5>take a few chances, a few early romances. Go swimming

0:27:15.916 --> 0:27:22.076
<v Speaker 5>in the ocean all New Year's Day. Don't listen to

0:27:22.356 --> 0:27:29.996
<v Speaker 5>the critics, Stand up bed witness, go slay all the dragons.

0:27:29.156 --> 0:27:31.116
<v Speaker 4>That stand in your wing.

0:27:36.476 --> 0:27:37.956
<v Speaker 2>He stayed up and talked until.

0:27:37.756 --> 0:27:41.156
<v Speaker 4>The sunrise of war and love and sorrow.

0:27:42.116 --> 0:27:47.116
<v Speaker 5>He said, stop spending all your money on forgiveness of sins.

0:27:47.876 --> 0:27:54.036
<v Speaker 5>Today's all you promised. Don't trouble with tomorrow. He faded

0:27:54.076 --> 0:27:58.356
<v Speaker 5>into the forest, proudly singing this hymn.

0:27:59.516 --> 0:28:02.156
<v Speaker 3>Take a few chances.

0:28:01.756 --> 0:28:07.956
<v Speaker 5>A few early rommances. Go swimming in the ocean all

0:28:08.156 --> 0:28:14.116
<v Speaker 5>New is Day. Don't listen to the critics, Stand up

0:28:14.556 --> 0:28:19.996
<v Speaker 5>bell Winness, Go slay off the dragons.

0:28:19.036 --> 0:28:21.196
<v Speaker 4>That standing r Roy.

0:28:47.356 --> 0:28:52.956
<v Speaker 5>Woke up with a fever, surrounded by lightning. All my

0:28:53.076 --> 0:28:58.676
<v Speaker 5>windows were open. I let the rain flooding. The past

0:28:58.796 --> 0:29:04.476
<v Speaker 5>felt like the present, with the future uncertain. A sing

0:29:04.876 --> 0:29:07.796
<v Speaker 5>like a spiral lost.

0:29:07.516 --> 0:29:11.276
<v Speaker 2>In the wind.

0:29:11.316 --> 0:29:16.156
<v Speaker 5>Take a few chances, do earthy romances.

0:29:16.556 --> 0:29:18.196
<v Speaker 3>Go swimming in the.

0:29:18.316 --> 0:29:21.956
<v Speaker 5>Ocean all New Year's Day.

0:29:22.316 --> 0:29:24.716
<v Speaker 3>Don't listen to the critics.

0:29:25.076 --> 0:29:29.596
<v Speaker 5>Stand up in bed Winness, Go slay all the.

0:29:29.636 --> 0:29:32.876
<v Speaker 9>Dragons that stand in your way.

0:29:33.716 --> 0:30:05.716
<v Speaker 10>Go slay the dragons that stand in your wamm.

0:29:53.716 --> 0:30:00.516
<v Speaker 1>Hmm, thank you, incredibly beautiful tribute.

0:30:00.796 --> 0:30:03.156
<v Speaker 2>Thank you. Yeah, it's a beautiful man.

0:30:04.916 --> 0:30:13.556
<v Speaker 1>We'll be right back, and we're back. Let's talk a

0:30:13.596 --> 0:30:19.236
<v Speaker 1>little bit about the role of faith in your life

0:30:19.236 --> 0:30:22.836
<v Speaker 1>and work. Okay, yeah, So you grew up in a

0:30:22.876 --> 0:30:28.076
<v Speaker 1>very religious family. You went to seminary in Scotland. Tell

0:30:28.116 --> 0:30:30.276
<v Speaker 1>me about Yeah, I.

0:30:33.716 --> 0:30:36.916
<v Speaker 2>Think I've always sort of grown up. I think a

0:30:36.916 --> 0:30:38.196
<v Speaker 2>lot of people that grew up in a world that

0:30:38.236 --> 0:30:41.356
<v Speaker 2>I grew up in sort of either chose to just

0:30:41.756 --> 0:30:45.476
<v Speaker 2>join into that space as adults, or they sort of

0:30:45.636 --> 0:30:48.636
<v Speaker 2>run the other direction and go through a deconstruction phase

0:30:48.636 --> 0:30:52.516
<v Speaker 2>where they, you know, on a spectrum of sort of

0:30:52.716 --> 0:30:58.156
<v Speaker 2>kindness to full vitriol, they depart from that space. And

0:30:58.996 --> 0:31:01.516
<v Speaker 2>instead I tried to navigate sort of a third way,

0:31:01.556 --> 0:31:05.356
<v Speaker 2>which is I didn't have a personal experience with faith

0:31:05.476 --> 0:31:07.796
<v Speaker 2>that sort of mirrored what I was told it was

0:31:07.836 --> 0:31:10.676
<v Speaker 2>going to be like that it would bring all this

0:31:10.756 --> 0:31:13.836
<v Speaker 2>meaning and stuff to my life. And when I was seventeen,

0:31:13.876 --> 0:31:16.316
<v Speaker 2>my brother passed away. He was born a spine of

0:31:16.876 --> 0:31:19.276
<v Speaker 2>and had all sorts of health issues, but still suddenly

0:31:19.316 --> 0:31:20.716
<v Speaker 2>out of nowhere. I was out of the country when

0:31:20.676 --> 0:31:24.156
<v Speaker 2>it happened, on doing like a summer of Spanish immersion

0:31:24.156 --> 0:31:27.996
<v Speaker 2>in Themican Republic, and it passed away and got home.

0:31:28.396 --> 0:31:31.236
<v Speaker 2>All the sacraments and words and instruments and communities of

0:31:31.276 --> 0:31:36.676
<v Speaker 2>faith were sort of bubbled up in me, and it

0:31:36.716 --> 0:31:38.476
<v Speaker 2>wasn't making sense for me. So I had sort of

0:31:38.516 --> 0:31:42.676
<v Speaker 2>a crisis of faith, and instead of turning away from it,

0:31:43.236 --> 0:31:44.836
<v Speaker 2>I was still sort of trying to figure it out.

0:31:45.316 --> 0:31:47.236
<v Speaker 2>But music was really the thing that kind of helped

0:31:47.276 --> 0:31:49.476
<v Speaker 2>me make sense of my life. I'll never forget. There

0:31:49.476 --> 0:31:53.116
<v Speaker 2>were two records in particular in that era. One was

0:31:53.316 --> 0:31:56.396
<v Speaker 2>Van Morrison's Moondance. The other one was David Gray's White

0:31:56.476 --> 0:32:00.676
<v Speaker 2>Ladder that I would just drive in my car and

0:32:00.716 --> 0:32:04.196
<v Speaker 2>just listening to records and sob and those records weren't

0:32:04.196 --> 0:32:06.916
<v Speaker 2>even necessarily about grief, but they were grief records for me.

0:32:09.276 --> 0:32:12.836
<v Speaker 2>But I also didn't My experience with faith and the

0:32:12.836 --> 0:32:16.076
<v Speaker 2>faith community was that while I was struggling to believe

0:32:16.116 --> 0:32:17.996
<v Speaker 2>what they told me was the right thing to believe,

0:32:18.076 --> 0:32:20.236
<v Speaker 2>I also was experiencing a lot of love and affection

0:32:20.316 --> 0:32:22.716
<v Speaker 2>from them and had from a young age. And so

0:32:23.196 --> 0:32:25.916
<v Speaker 2>a lot of people's hurt and deconstruction is fed off

0:32:25.956 --> 0:32:30.436
<v Speaker 2>of abuse or mistreatment or you know, And that was

0:32:30.476 --> 0:32:32.516
<v Speaker 2>not my experience, and so I couldn't have that same

0:32:32.556 --> 0:32:36.636
<v Speaker 2>sort of departure because I was loved well. And so

0:32:36.676 --> 0:32:38.676
<v Speaker 2>it's created this really interesting tension in me because I

0:32:38.716 --> 0:32:41.996
<v Speaker 2>was also expanding the way my worldview is expanding in

0:32:42.076 --> 0:32:44.876
<v Speaker 2>ways that didn't line up with a lot of what

0:32:44.916 --> 0:32:48.916
<v Speaker 2>I grew up around. But also we're talking about it.

0:32:48.916 --> 0:32:50.836
<v Speaker 2>You know, it's easy to lump people into these categories,

0:32:50.876 --> 0:32:53.196
<v Speaker 2>and really the spectrum of people who helped raise me,

0:32:53.676 --> 0:32:56.116
<v Speaker 2>they all have different different sort of spectrum of beliefs

0:32:56.116 --> 0:33:01.556
<v Speaker 2>about different things, whether cultural, cosmic, theological, cultural, political, et cetera.

0:33:01.676 --> 0:33:04.956
<v Speaker 2>So I don't want to sort of speak about that

0:33:05.036 --> 0:33:11.116
<v Speaker 2>community as one monolith. But but at the same time,

0:33:12.396 --> 0:33:14.756
<v Speaker 2>what I was finding and who I was becoming was

0:33:14.796 --> 0:33:17.876
<v Speaker 2>getting farther from that. And part of the way I

0:33:18.156 --> 0:33:20.196
<v Speaker 2>part of that was going to seminary. I went to Scotland.

0:33:21.756 --> 0:33:23.796
<v Speaker 2>They had a program at St. Andrews University. I could

0:33:23.796 --> 0:33:26.716
<v Speaker 2>go for two weeks a semester twice a year and

0:33:26.756 --> 0:33:29.916
<v Speaker 2>then write my papers. And so, you know, I was

0:33:29.996 --> 0:33:32.716
<v Speaker 2>just I was searching, but I was enjoying the search.

0:33:32.756 --> 0:33:34.036
<v Speaker 2>You know. It was like it was less of a

0:33:34.156 --> 0:33:37.556
<v Speaker 2>like frantic looking for the lost keys when you're trying

0:33:37.556 --> 0:33:38.556
<v Speaker 2>to get out of the house, and more of a

0:33:38.676 --> 0:33:41.276
<v Speaker 2>like I just want to keep looking at them, finding

0:33:41.316 --> 0:33:43.156
<v Speaker 2>a lot of interesting things. I'm reading a lot of

0:33:43.156 --> 0:33:48.796
<v Speaker 2>interesting people just allowed myself to engage in reading and

0:33:48.796 --> 0:33:52.356
<v Speaker 2>in music and in ways that was sort of open

0:33:52.396 --> 0:33:54.356
<v Speaker 2>to it instead of looking for a fight. And that's

0:33:54.356 --> 0:33:55.956
<v Speaker 2>sort of the way I would say that I was

0:33:56.036 --> 0:33:59.996
<v Speaker 2>raised is that the church in that era, the school

0:34:00.076 --> 0:34:02.996
<v Speaker 2>that I went to, was a wall, and it was

0:34:02.996 --> 0:34:04.636
<v Speaker 2>more of a wall and less of a bridge. It's

0:34:04.636 --> 0:34:08.396
<v Speaker 2>more about protecting the flock instead of building a bridge

0:34:08.476 --> 0:34:10.836
<v Speaker 2>to the world. And I would say my faith now

0:34:10.916 --> 0:34:12.836
<v Speaker 2>is much more of like, I just want to be

0:34:12.836 --> 0:34:16.916
<v Speaker 2>a bridge builder. But I haven't necessarily, I haven't rejected

0:34:16.916 --> 0:34:19.636
<v Speaker 2>some of the sort of central teachings of Christian Orthodoxy,

0:34:19.796 --> 0:34:24.156
<v Speaker 2>but I have certainly rejected sort of American evangelical culture

0:34:25.596 --> 0:34:28.916
<v Speaker 2>and has cost me a lot of fans. But that's okay.

0:34:29.316 --> 0:34:31.556
<v Speaker 1>Memphis to Scotland is a long way.

0:34:31.756 --> 0:34:35.196
<v Speaker 2>Yeah. My senior high school English teacher took a trip

0:34:35.196 --> 0:34:37.876
<v Speaker 2>every year to the UK. In the first place we

0:34:37.916 --> 0:34:41.916
<v Speaker 2>went with Scotland, and that immediately within three days on

0:34:41.956 --> 0:34:43.236
<v Speaker 2>that trip, I sai, I'm going to study abroad.

0:34:43.276 --> 0:34:43.516
<v Speaker 1>Here.

0:34:43.716 --> 0:34:49.756
<v Speaker 2>This place is Edinburgh's just this wonderland. And you know,

0:34:49.756 --> 0:34:54.956
<v Speaker 2>I loved English literature, I loved English history, you know,

0:34:54.956 --> 0:34:57.836
<v Speaker 2>and honestly, like the South was settled by Scots, so

0:34:58.436 --> 0:34:59.956
<v Speaker 2>a lot of it, you know. So there was like

0:35:01.556 --> 0:35:05.036
<v Speaker 2>when Braveheart came out, every Southerner in the world was like, yeah.

0:35:04.636 --> 0:35:10.116
<v Speaker 1>You know, was there anything about the of Scotland that

0:35:10.156 --> 0:35:10.596
<v Speaker 1>appealed to.

0:35:11.156 --> 0:35:12.916
<v Speaker 2>Yeah, yeah, there's a There was a There was a

0:35:12.916 --> 0:35:17.996
<v Speaker 2>pub down the street from my flat, Sandy Bell was

0:35:18.036 --> 0:35:20.836
<v Speaker 2>the name of it. And every night they had traditional

0:35:21.476 --> 0:35:25.756
<v Speaker 2>Scottish music, you know, people playing instruments that I didn't

0:35:25.756 --> 0:35:27.476
<v Speaker 2>even know what they were, but they put these traditional

0:35:27.556 --> 0:35:30.636
<v Speaker 2>Scottish folk songs and they're always in with Loch Loman.

0:35:31.116 --> 0:35:34.076
<v Speaker 5>You take the high Rule and I'll take the little Rule,

0:35:34.156 --> 0:35:37.716
<v Speaker 5>and I'll be in Scottland before Aria for me and

0:35:37.756 --> 0:35:40.636
<v Speaker 5>my true lover, and they're to meet again on the

0:35:40.676 --> 0:35:43.476
<v Speaker 5>Bonnie Bonnie banks of Lochlomond.

0:35:44.956 --> 0:35:46.916
<v Speaker 2>I was like, that's in the corner, crying about me

0:35:46.996 --> 0:35:49.316
<v Speaker 2>and this mythical woman I'm gonna meet at the Bonnie

0:35:49.316 --> 0:35:50.196
<v Speaker 2>Banks of Loch Loman.

0:35:52.236 --> 0:35:53.596
<v Speaker 1>Scottish accent's pretty good.

0:35:54.556 --> 0:35:56.556
<v Speaker 2>They got a lot of practice my kids. My kids

0:35:56.556 --> 0:35:58.956
<v Speaker 2>are always asking for it. But there's something about the

0:35:58.956 --> 0:36:03.756
<v Speaker 2>Scottish weather in the story that sort of that's where

0:36:03.756 --> 0:36:08.396
<v Speaker 2>I started writing songs. I was still sort of in

0:36:08.436 --> 0:36:14.076
<v Speaker 2>the throes of my grief, and I was trying to

0:36:14.116 --> 0:36:19.236
<v Speaker 2>process that grief. And so as a student, I decided

0:36:19.316 --> 0:36:22.836
<v Speaker 2>my senior thesis at in my program was going to

0:36:22.876 --> 0:36:27.356
<v Speaker 2>be an oral history about my brother's life and death

0:36:28.756 --> 0:36:31.436
<v Speaker 2>from everybody that knew him, and sort of the question was,

0:36:32.116 --> 0:36:38.476
<v Speaker 2>why does a severely handicapped child have such like so,

0:36:38.516 --> 0:36:40.156
<v Speaker 2>because when he passed away, there were like two thousand

0:36:40.156 --> 0:36:42.836
<v Speaker 2>people at the funeral. Two Yeah, there were like one

0:36:42.876 --> 0:36:44.876
<v Speaker 2>hundred nurses from the hospital that had met him over

0:36:44.876 --> 0:36:48.596
<v Speaker 2>the last fifteen years came and the entire elementary school

0:36:48.596 --> 0:36:50.276
<v Speaker 2>he went to had a day out of school and

0:36:50.276 --> 0:36:50.836
<v Speaker 2>they all came.

0:36:52.676 --> 0:36:52.836
<v Speaker 1>Yeah.

0:36:52.836 --> 0:36:56.316
<v Speaker 2>It was this incredible celebration of a very short but

0:36:56.436 --> 0:37:01.836
<v Speaker 2>very sort of thorough life. And so my sort of

0:37:01.836 --> 0:37:04.476
<v Speaker 2>analytical side of my brain with the creative side of

0:37:04.476 --> 0:37:05.916
<v Speaker 2>my brain was like, what if I just wrote an

0:37:05.996 --> 0:37:09.076
<v Speaker 2>oral history of his life and interviewed this doctors, teacher,

0:37:09.276 --> 0:37:11.996
<v Speaker 2>his neighbors, his cousins, and why did Jay matter so

0:37:12.076 --> 0:37:14.196
<v Speaker 2>much to you? So I was working on that in

0:37:14.196 --> 0:37:17.636
<v Speaker 2>Scotland and that's when I started writing songs because I

0:37:17.676 --> 0:37:19.836
<v Speaker 2>didn't really know anybody. I always say that at that

0:37:19.876 --> 0:37:22.676
<v Speaker 2>time I was alone. I wasn't necessarily lonely, but I

0:37:22.756 --> 0:37:26.436
<v Speaker 2>was alone, and I had taken my guitar and I

0:37:26.476 --> 0:37:29.156
<v Speaker 2>just started writing. And when I got back home from

0:37:29.236 --> 0:37:32.676
<v Speaker 2>that semester, started playing these songs for some friends, and

0:37:33.036 --> 0:37:37.196
<v Speaker 2>I think they were all expecting something completely different from

0:37:37.196 --> 0:37:40.316
<v Speaker 2>my life. I got laughed out a couple times before

0:37:40.316 --> 0:37:42.676
<v Speaker 2>the song's like, wait, you wrote songs. I know you

0:37:42.676 --> 0:37:45.196
<v Speaker 2>play music, but like, aren't you going to be like

0:37:45.396 --> 0:37:49.756
<v Speaker 2>history lawyer guy or something? And I'm playing these songs,

0:37:49.796 --> 0:37:50.156
<v Speaker 2>They're like.

0:37:50.076 --> 0:37:52.476
<v Speaker 1>Oh, these are What's the first song you wrote that

0:37:52.556 --> 0:37:53.956
<v Speaker 1>you were proud of?

0:37:54.396 --> 0:37:57.716
<v Speaker 2>A song called Nightingale that I don't remember, but I

0:37:57.756 --> 0:38:04.876
<v Speaker 2>do remember it being about my then friend and much

0:38:04.956 --> 0:38:07.676
<v Speaker 2>later became my wife, Ellie. But it was a it

0:38:07.716 --> 0:38:10.116
<v Speaker 2>was a heartbreak song because she she had sort of

0:38:11.916 --> 0:38:13.796
<v Speaker 2>ripped the heart from my chest in that era of

0:38:13.836 --> 0:38:14.276
<v Speaker 2>my life.

0:38:14.436 --> 0:38:17.756
<v Speaker 1>So is that why you don't remember it?

0:38:17.836 --> 0:38:20.636
<v Speaker 2>It's just a yeah, I got to move on from

0:38:20.636 --> 0:38:21.076
<v Speaker 2>that song.

0:38:21.556 --> 0:38:24.036
<v Speaker 1>Yeah, you can't have forgotten all of it.

0:38:24.396 --> 0:38:32.236
<v Speaker 2>No, I mean that was something like, well, okay, this

0:38:32.356 --> 0:38:41.956
<v Speaker 2>is embarrassing. I do remember the first line, Cinderella was

0:38:41.996 --> 0:38:43.316
<v Speaker 2>a fairy tale.

0:38:45.676 --> 0:38:47.156
<v Speaker 3>One, that's true.

0:38:49.916 --> 0:38:51.436
<v Speaker 2>I don't remember where it went after that. But there

0:38:51.476 --> 0:38:58.076
<v Speaker 2>was something about she sang like a nightingale something, something

0:38:58.156 --> 0:38:59.236
<v Speaker 2>that rhymes with true.

0:39:01.836 --> 0:39:04.836
<v Speaker 1>Wait, did you play this for her after she broke

0:39:04.916 --> 0:39:05.236
<v Speaker 1>up with you?

0:39:05.596 --> 0:39:08.516
<v Speaker 2>Well, you made an assumption there that we dated in

0:39:08.516 --> 0:39:09.036
<v Speaker 2>the first place.

0:39:09.396 --> 0:39:14.396
<v Speaker 1>Oh, at what point in the trajectory of you and

0:39:14.396 --> 0:39:15.676
<v Speaker 1>Ellie did she hear that song?

0:39:16.356 --> 0:39:17.996
<v Speaker 2>I mean pretty soon after I wrote it, But I

0:39:17.996 --> 0:39:19.636
<v Speaker 2>didn't tell her it was about her, you know.

0:39:20.676 --> 0:39:21.596
<v Speaker 1>She didn't figure it out.

0:39:21.756 --> 0:39:24.676
<v Speaker 2>No, she did not. Oh, come on, well that's according

0:39:24.676 --> 0:39:27.956
<v Speaker 2>to her. That's you've talked to her about that. But yeah,

0:39:27.996 --> 0:39:30.356
<v Speaker 2>so that I mean, that was That was the first

0:39:30.356 --> 0:39:32.876
<v Speaker 2>song I sang. And I was playing it like for

0:39:32.956 --> 0:39:35.276
<v Speaker 2>my buddies in college in college, and they're like, that's

0:39:35.276 --> 0:39:38.556
<v Speaker 2>pretty good, you know. But that that was before Scotland.

0:39:38.596 --> 0:39:40.676
<v Speaker 2>That was the first song I wrote, and Scotland's we

0:39:40.716 --> 0:39:43.836
<v Speaker 2>started writing songs that I I don't know, just something

0:39:43.876 --> 0:39:45.916
<v Speaker 2>started to click, but really I didn't. It took me.

0:39:47.156 --> 0:39:50.556
<v Speaker 2>I moved quickly into sort of what I would call

0:39:50.596 --> 0:39:55.676
<v Speaker 2>my twenty to twenty three year old Steve Earld Bruce Springsteen,

0:39:55.756 --> 0:39:59.916
<v Speaker 2>Ryan Adams imitation phase, where I was really trying to

0:40:00.076 --> 0:40:06.796
<v Speaker 2>write the rugged third person minor chord songs and it

0:40:06.836 --> 0:40:08.916
<v Speaker 2>wasn't me, but I needed to do that to find

0:40:09.596 --> 0:40:12.876
<v Speaker 2>to find my path. But none of those songs are

0:40:12.956 --> 0:40:13.996
<v Speaker 2>available on the internet.

0:40:14.076 --> 0:40:18.116
<v Speaker 1>Which Spruce, Which Spruce Springsteen? There are many Bruce Springsteen's.

0:40:18.116 --> 0:40:19.716
<v Speaker 1>Which is your favorite Bruce Springsteen?

0:40:20.356 --> 0:40:23.116
<v Speaker 2>Well, my favorite Bruce Springsteen is Greetings from Raspberry Park

0:40:23.876 --> 0:40:26.396
<v Speaker 2>Bruce Springsteen. But I like them all. But the one

0:40:26.436 --> 0:40:28.796
<v Speaker 2>I was imitating was like the Nebraska Tom.

0:40:28.956 --> 0:40:31.636
<v Speaker 1>Say, Nebraska. Yeah, I want to talk about Nebraska for

0:40:31.676 --> 0:40:35.476
<v Speaker 1>a moment. I because I was obsessed with that record.

0:40:35.756 --> 0:40:36.356
<v Speaker 2>Yeah.

0:40:36.396 --> 0:40:39.356
<v Speaker 1>And you know it's funny because music like that doesn't

0:40:39.396 --> 0:40:44.196
<v Speaker 1>just influence musicians, it influences writers.

0:40:44.596 --> 0:40:44.876
<v Speaker 2>Yeah.

0:40:44.916 --> 0:40:47.836
<v Speaker 1>And the song that I always came back to was

0:40:49.996 --> 0:40:51.956
<v Speaker 1>I know it's called but it's the one about the

0:40:51.956 --> 0:40:53.476
<v Speaker 1>guy who's a police officer.

0:40:53.556 --> 0:40:54.276
<v Speaker 2>How a patrolman?

0:40:54.436 --> 0:40:55.196
<v Speaker 1>Hwre you patrolman?

0:40:55.356 --> 0:40:56.876
<v Speaker 2>I played that song one hundred times.

0:40:57.036 --> 0:40:59.116
<v Speaker 1>Man turns this back on his family. He just ain't

0:40:59.156 --> 0:41:01.796
<v Speaker 1>no good, he just ain't no good. That was like

0:41:03.916 --> 0:41:08.476
<v Speaker 1>as a kind of template for writing an emotionally powerful story.

0:41:09.476 --> 0:41:11.556
<v Speaker 1>It's just stuck in my head, it was. It's so

0:41:12.076 --> 0:41:15.196
<v Speaker 1>that song is so beautifully constructed. Well, can you do

0:41:15.236 --> 0:41:17.236
<v Speaker 1>you can you can you remember any of it? I

0:41:17.236 --> 0:41:17.556
<v Speaker 1>can play.

0:41:17.636 --> 0:41:19.756
<v Speaker 2>I can play the chorus probably, yeah, pay the chorus.

0:41:21.076 --> 0:41:23.036
<v Speaker 1>For those who don't know the song, this is it's

0:41:23.196 --> 0:41:25.956
<v Speaker 1>I think it's one of his finest songs.

0:41:28.036 --> 0:41:28.756
<v Speaker 2>I can do a part of it.

0:41:29.316 --> 0:41:31.156
<v Speaker 4>My name is Joe Roberts.

0:41:33.356 --> 0:41:34.676
<v Speaker 2>I work for the State.

0:41:36.076 --> 0:41:40.796
<v Speaker 5>Sergeant out of Burdenville, Bear Snumber.

0:41:46.316 --> 0:41:47.676
<v Speaker 1>I've always been an honest man.

0:41:47.636 --> 0:41:49.796
<v Speaker 2>An honest man, honest as that.

0:41:52.876 --> 0:41:56.156
<v Speaker 5>My brother named Frankie, and Frankie ain't no good?

0:41:56.916 --> 0:41:58.156
<v Speaker 1>Is it bad that I sing along.

0:42:00.196 --> 0:42:03.476
<v Speaker 2>As the audience I don't know, but then you know

0:42:03.556 --> 0:42:03.996
<v Speaker 2>goes on.

0:42:05.116 --> 0:42:06.796
<v Speaker 3>Yeah, we're laughing, drinking.

0:42:07.836 --> 0:42:13.116
<v Speaker 5>Nothing feels better than blood on, blood, taking turns, dancing

0:42:13.196 --> 0:42:14.076
<v Speaker 5>with Maria.

0:42:15.196 --> 0:42:18.476
<v Speaker 4>The band plays now that you Flood.

0:42:20.276 --> 0:42:21.956
<v Speaker 1>Catch him w straight again?

0:42:22.276 --> 0:42:26.436
<v Speaker 3>Yep, any brother would do teach you how to walk

0:42:26.436 --> 0:42:26.756
<v Speaker 3>that line.

0:42:26.796 --> 0:42:27.836
<v Speaker 2>It's two different courses.

0:42:27.956 --> 0:42:30.116
<v Speaker 1>Oh right, sorry, sorry, sorry, sorry.

0:42:31.116 --> 0:42:33.756
<v Speaker 5>Because because my favorite is uh like any like any

0:42:33.796 --> 0:42:34.796
<v Speaker 5>brother would.

0:42:36.516 --> 0:42:39.956
<v Speaker 2>Uh man turns his back on his family. Well, he

0:42:40.196 --> 0:42:41.436
<v Speaker 2>just ain't no good.

0:42:42.476 --> 0:42:42.596
<v Speaker 5>Uh.

0:42:42.636 --> 0:42:46.596
<v Speaker 2>And then there's this, uh that line to me that

0:42:46.596 --> 0:42:48.156
<v Speaker 2>that song. I love it song for a lot of

0:42:48.196 --> 0:42:50.516
<v Speaker 2>different reasons. If you know, I'll just the song has

0:42:50.516 --> 0:42:54.156
<v Speaker 2>been out for forty years, so I spoiler alert basically,

0:42:55.076 --> 0:42:59.476
<v Speaker 2>you know this this the narrator is a state trooper

0:42:59.596 --> 0:43:03.396
<v Speaker 2>higher patrolman, and his brother's a mess and he ends

0:43:03.476 --> 0:43:07.596
<v Speaker 2>up injuring possibly killing somebody in a bar fight, and

0:43:07.636 --> 0:43:10.116
<v Speaker 2>he gets called into the scene. I was his own brother,

0:43:10.436 --> 0:43:12.796
<v Speaker 2>and his brother he's chasing him out of the state

0:43:12.916 --> 0:43:17.676
<v Speaker 2>in Michigan, and and he lets him go into Canada,

0:43:18.316 --> 0:43:21.236
<v Speaker 2>you know, and lets him escape, and then he ends

0:43:21.236 --> 0:43:24.196
<v Speaker 2>with that course and turns it back on his family.

0:43:24.276 --> 0:43:27.596
<v Speaker 2>He just say no good and uh, my brother, who's

0:43:27.596 --> 0:43:30.676
<v Speaker 2>now been eight years sober. There was a lot of

0:43:30.716 --> 0:43:33.076
<v Speaker 2>years where that was like that was our dynamic.

0:43:33.556 --> 0:43:33.716
<v Speaker 5>You know.

0:43:33.916 --> 0:43:38.636
<v Speaker 2>I was the good rule following successful big brother and

0:43:38.676 --> 0:43:42.676
<v Speaker 2>he was the you know, he didn't mind me saying that.

0:43:42.756 --> 0:43:45.276
<v Speaker 2>We were very close, but he turned his life around.

0:43:45.276 --> 0:43:47.036
<v Speaker 2>But I thought that was gonna be my life. Was like,

0:43:47.236 --> 0:43:50.436
<v Speaker 2>I'm gonna lose him to his vice. And so I

0:43:50.556 --> 0:43:52.916
<v Speaker 2>play that song on nights when I hadn't heard from him,

0:43:52.996 --> 0:43:55.036
<v Speaker 2>and I love that song.

0:43:55.396 --> 0:43:57.716
<v Speaker 1>There's a lot of emotion in here.

0:43:57.236 --> 0:43:59.876
<v Speaker 2>A lot of emotion in here in no in you.

0:44:00.116 --> 0:44:06.236
<v Speaker 2>Oh yeah, I think that is a compliment.

0:44:07.436 --> 0:44:10.116
<v Speaker 1>I did not just folks made I know this, but

0:44:10.196 --> 0:44:13.236
<v Speaker 1>we June I met a couple of months back then.

0:44:13.276 --> 0:44:16.116
<v Speaker 1>They're doing this thing which can't be described.

0:44:17.556 --> 0:44:19.516
<v Speaker 2>And it's a form of a variety show.

0:44:19.556 --> 0:44:21.236
<v Speaker 1>A variety show. We hung out together. It was on

0:44:21.276 --> 0:44:24.116
<v Speaker 1>the bus with Drew, among other things, and you said something.

0:44:24.116 --> 0:44:26.756
<v Speaker 1>There are a series of things. I didn't know anything

0:44:26.756 --> 0:44:32.036
<v Speaker 1>about you, and you said something to me that just

0:44:33.276 --> 0:44:37.956
<v Speaker 1>so surprised me, and I would you said that. You

0:44:38.076 --> 0:44:43.836
<v Speaker 1>just talked about how you have it. You have you

0:44:43.916 --> 0:44:50.676
<v Speaker 1>get angry. Yeah, And I didn't see that. I didn't

0:44:50.676 --> 0:44:53.516
<v Speaker 1>see that in you, And I was so surprised to

0:44:53.556 --> 0:44:53.876
<v Speaker 1>hear that.

0:44:55.956 --> 0:44:57.796
<v Speaker 2>I was sort of talk growing up that anger is bad,

0:44:58.396 --> 0:45:01.356
<v Speaker 2>you know that. What I've since learned is that anger

0:45:01.396 --> 0:45:03.156
<v Speaker 2>is not bad. It's rage that's bad, which just like

0:45:03.196 --> 0:45:04.916
<v Speaker 2>sort of the that's not going to get all counselate

0:45:04.996 --> 0:45:06.796
<v Speaker 2>on you guys, But that's been a big part of

0:45:06.836 --> 0:45:09.036
<v Speaker 2>my journey as a as a person and as a music.

0:45:10.676 --> 0:45:12.716
<v Speaker 2>It's not the anger that's bad. Angers like the red light,

0:45:12.956 --> 0:45:14.836
<v Speaker 2>you know, it's what you do with it. And so

0:45:14.876 --> 0:45:18.516
<v Speaker 2>I've learned, instead of getting sort of physically upset, is

0:45:18.516 --> 0:45:20.596
<v Speaker 2>to go, I'm so angry, what is it. It's usually

0:45:20.636 --> 0:45:24.036
<v Speaker 2>some sort of injustice. Either it's me or the world,

0:45:24.076 --> 0:45:28.196
<v Speaker 2>or my neighbor or my family, or is it's it's

0:45:28.236 --> 0:45:31.396
<v Speaker 2>your yellow light that's flashing that you're lonely or sad

0:45:31.556 --> 0:45:36.396
<v Speaker 2>or hurt. And so I've learned that it's like my superpower.

0:45:36.756 --> 0:45:38.396
<v Speaker 2>Like when I'm angry, I know that I know that

0:45:38.396 --> 0:45:40.996
<v Speaker 2>I've got to figure out what's going on instead of

0:45:41.036 --> 0:45:43.236
<v Speaker 2>trying to tamp it down.

0:45:43.836 --> 0:45:46.916
<v Speaker 1>You know, have you ever written what is your what

0:45:46.996 --> 0:45:49.596
<v Speaker 1>is the angriest song? I have an idea that you've

0:45:49.596 --> 0:45:50.116
<v Speaker 1>ever written.

0:45:50.596 --> 0:45:54.756
<v Speaker 2>Oh, that's great. It's a song called Ring the Bells. Yes, okay,

0:45:54.796 --> 0:45:55.316
<v Speaker 2>you want to hear it?

0:45:55.516 --> 0:45:58.316
<v Speaker 1>Yeah? Wait, you got to give the context. Yeah.

0:45:58.316 --> 0:46:04.996
<v Speaker 2>I wrote this song with my I wrote this song

0:46:05.156 --> 0:46:08.756
<v Speaker 2>with my friends Avener and Amanda Ramirez. Avener as a

0:46:08.756 --> 0:46:12.996
<v Speaker 2>Cuban American, Aman is an African American. We wrote the

0:46:13.036 --> 0:46:22.436
<v Speaker 2>song together, I think three days after Charlottesville White Supremacy Rally,

0:46:23.716 --> 0:46:27.316
<v Speaker 2>when some very famous sort of American Christians were both

0:46:27.356 --> 0:46:30.876
<v Speaker 2>sides in the situation, and we got real pisted and

0:46:30.916 --> 0:46:31.836
<v Speaker 2>wrote this song together.

0:46:41.636 --> 0:46:44.396
<v Speaker 5>Ring the Bells this time, I mean it did the

0:46:44.436 --> 0:46:48.676
<v Speaker 5>hatred very well. Give back the pieces of my Jesus

0:46:48.676 --> 0:46:50.596
<v Speaker 5>to take your counterfeit to hell.

0:46:51.196 --> 0:46:52.356
<v Speaker 3>Thank the drums.

0:46:52.476 --> 0:46:56.196
<v Speaker 5>This means war, not the kind you waiting for. We

0:46:56.316 --> 0:47:00.196
<v Speaker 5>say mercy won't be rationed here. It's what we're fighting for.

0:47:01.196 --> 0:47:04.196
<v Speaker 3>Their fall is fair in love and war. Then what

0:47:04.316 --> 0:47:04.956
<v Speaker 3>the hell is.

0:47:05.116 --> 0:47:05.996
<v Speaker 1>Love even for?

0:47:10.916 --> 0:47:13.956
<v Speaker 5>If we can't sing it loud enough, we'll keep on

0:47:14.196 --> 0:47:14.796
<v Speaker 5>at anymore?

0:47:17.876 --> 0:47:23.396
<v Speaker 4>Ring ring, ring.

0:47:25.196 --> 0:47:31.156
<v Speaker 2>Ring, Just a little bit of it.

0:47:34.476 --> 0:47:39.236
<v Speaker 1>That's that's what I That's the one I had in mind.

0:47:40.036 --> 0:47:42.156
<v Speaker 2>I was, we were I was very angry when I

0:47:42.156 --> 0:47:43.756
<v Speaker 2>wrote that song. Felt good.

0:47:44.516 --> 0:47:50.316
<v Speaker 1>Yeah, it's funny, it's it's you're you. You play it

0:47:50.356 --> 0:47:51.276
<v Speaker 1>like a man possessed.

0:47:54.036 --> 0:47:56.236
<v Speaker 2>Well, I was watching Daniel Tiger one time with my daughter,

0:47:56.836 --> 0:47:58.116
<v Speaker 2>and there was.

0:47:58.276 --> 0:48:01.476
<v Speaker 1>I just loved to segue from yea possessed to someone

0:48:01.476 --> 0:48:02.116
<v Speaker 1>who there's a lot of.

0:48:03.436 --> 0:48:06.636
<v Speaker 2>Well, it's very it's very related to what we're talking about.

0:48:07.156 --> 0:48:10.756
<v Speaker 2>So there's the scene where Dane gets up and the

0:48:10.796 --> 0:48:12.956
<v Speaker 2>mom says, okay, Dan, we'na learn a song if you

0:48:12.996 --> 0:48:15.756
<v Speaker 2>feel so mad that you want to roar, take a

0:48:15.796 --> 0:48:19.676
<v Speaker 2>deep breath, then count to four. And I was like,

0:48:19.996 --> 0:48:23.396
<v Speaker 2>I'm sorry, Emmy Lou, she's four years old. I'm like,

0:48:23.436 --> 0:48:27.956
<v Speaker 2>that's not always true. Sometimes what you need to.

0:48:27.916 --> 0:48:30.636
<v Speaker 11>Do when you feel so mad that you want to roar,

0:48:30.836 --> 0:48:38.716
<v Speaker 11>take a deep breath, Yes, get it out, don't stuff

0:48:38.716 --> 0:48:39.636
<v Speaker 11>that stuff inside of you.

0:48:40.436 --> 0:48:43.036
<v Speaker 1>We'll be right back with drews answers to the homework

0:48:43.036 --> 0:48:45.316
<v Speaker 1>assignment I gave him. I asked him to come up

0:48:45.356 --> 0:48:48.756
<v Speaker 1>with his five favorite country songs of all time so

0:48:48.796 --> 0:48:56.876
<v Speaker 1>he could compare his list to mine. And we're back.

0:48:57.556 --> 0:48:59.956
<v Speaker 1>Can we talk. Let's talk about musical influences for a moment.

0:49:00.036 --> 0:49:02.116
<v Speaker 1>Let's start with Amy Lou Harris. I would love to

0:49:02.436 --> 0:49:06.956
<v Speaker 1>when we were thinking about this evening about our list

0:49:06.956 --> 0:49:12.076
<v Speaker 1>of iconic country songs, and one of my one of

0:49:12.156 --> 0:49:17.076
<v Speaker 1>on my list is Boulder of Birmingham. Do you know that? No,

0:49:17.716 --> 0:49:22.756
<v Speaker 1>that's the that is uh. It is the one of

0:49:22.796 --> 0:49:27.556
<v Speaker 1>the few songwriting credits she has on her first I

0:49:27.556 --> 0:49:29.836
<v Speaker 1>think she only has one songwriting credit on her first

0:49:29.876 --> 0:49:33.476
<v Speaker 1>nine albums, and that's Bouldered Birmingham, which she writes about

0:49:33.476 --> 0:49:37.076
<v Speaker 1>Graham Parsons. Oh yeah, and it is. Actually we're going

0:49:37.156 --> 0:49:39.956
<v Speaker 1>to play a little bit of it. It is the

0:49:39.996 --> 0:49:46.796
<v Speaker 1>most just play the first little like it's so heart

0:49:46.836 --> 0:49:52.916
<v Speaker 1>wrenchingly beautiful. And the I mentioned only because we were

0:49:52.916 --> 0:49:55.956
<v Speaker 1>talking about grief and about emotion. It is a song.

0:49:55.996 --> 0:49:59.956
<v Speaker 1>It's a song about grief, and it's the articulation of

0:49:59.996 --> 0:50:07.716
<v Speaker 1>her sense of loss and longing. Is just perfect. Anyway

0:50:07.916 --> 0:50:10.636
<v Speaker 1>here it is. I think I will run.

0:50:13.516 --> 0:50:14.236
<v Speaker 3>In the close.

0:50:17.276 --> 0:50:18.276
<v Speaker 4>I would hold my.

0:50:20.996 --> 0:50:22.956
<v Speaker 10>Any say, race.

0:50:26.796 --> 0:50:34.316
<v Speaker 3>Away from bolted be give about actcy.

0:50:35.956 --> 0:50:39.276
<v Speaker 2>Act see.

0:50:40.716 --> 0:50:43.596
<v Speaker 1>I would walk all the way from Boulder to Birmingham

0:50:44.116 --> 0:50:46.876
<v Speaker 1>if I thought I could see, I could see your face.

0:50:47.636 --> 0:50:53.156
<v Speaker 1>That's her, the way she articulates her sense of loss.

0:50:53.836 --> 0:50:55.436
<v Speaker 2>She sings with so much ache too.

0:50:55.876 --> 0:50:58.916
<v Speaker 1>Yeah did you do your homework?

0:50:58.996 --> 0:51:01.956
<v Speaker 2>I did my homework. Yeah, you're one assignment. I respect.

0:51:02.796 --> 0:51:05.916
<v Speaker 2>I Yeah. I had some arguments with my wife when

0:51:05.956 --> 0:51:07.636
<v Speaker 2>I picked this first one, because she's like, I don't

0:51:07.636 --> 0:51:09.516
<v Speaker 2>think of that as a country song, and I was like, well,

0:51:09.876 --> 0:51:12.596
<v Speaker 2>it was like a number three on the country charts.

0:51:14.876 --> 0:51:17.436
<v Speaker 2>But I think my favorite country song, or what I

0:51:17.476 --> 0:51:19.436
<v Speaker 2>think is the best country song is which tall Lineman

0:51:19.556 --> 0:51:23.316
<v Speaker 2>by Glenn Campbell. I need you more than want you

0:51:23.756 --> 0:51:26.676
<v Speaker 2>and I want you for all time. There's a song

0:51:26.716 --> 0:51:30.396
<v Speaker 2>about a Jimmy Web wrote the song and he talks

0:51:30.396 --> 0:51:33.196
<v Speaker 2>about how I think it was his uncle was a lineman.

0:51:33.556 --> 0:51:35.396
<v Speaker 2>He always remembered seeing him up on the polls, working

0:51:35.396 --> 0:51:39.476
<v Speaker 2>on electrical lines, and so the song came easy to

0:51:39.556 --> 0:51:42.876
<v Speaker 2>him because he can imagine him, you know, being away

0:51:42.876 --> 0:51:45.956
<v Speaker 2>from home for a long time, wishing for to be

0:51:45.996 --> 0:51:48.396
<v Speaker 2>home with the one he loves. And its stood the

0:51:48.436 --> 0:51:50.476
<v Speaker 2>test of time too. It's a very simple song about

0:51:50.476 --> 0:51:56.316
<v Speaker 2>a workingman missing his love. But that's my number one.

0:51:57.956 --> 0:51:59.716
<v Speaker 1>Your wife said that was not a country song.

0:51:59.756 --> 0:52:01.676
<v Speaker 2>She said she doesn't think of it as a country song.

0:52:03.876 --> 0:52:06.676
<v Speaker 1>What does she think of it? As?

0:52:06.476 --> 0:52:12.236
<v Speaker 2>That was not clear to me. We agreed on my

0:52:12.236 --> 0:52:14.436
<v Speaker 2>my second one, though, which is which is Crazy by

0:52:14.476 --> 0:52:15.076
<v Speaker 2>Patsy Klein.

0:52:15.516 --> 0:52:16.636
<v Speaker 1>Oh yes, okay.

0:52:16.916 --> 0:52:18.876
<v Speaker 2>I mean it's such a standard, but it is so

0:52:18.956 --> 0:52:20.836
<v Speaker 2>good and I love that Willie Nelson wrote it, and

0:52:20.876 --> 0:52:23.276
<v Speaker 2>then a couple of years later he kind of quit

0:52:23.356 --> 0:52:29.956
<v Speaker 2>the industry, moves to Austin, Texas, and writes the most

0:52:29.996 --> 0:52:35.396
<v Speaker 2>non commercial country record ever, that's You Redheaded Stranger, as

0:52:35.396 --> 0:52:37.876
<v Speaker 2>a forty three year old, his career blows up. I

0:52:37.956 --> 0:52:39.756
<v Speaker 2>just love the story, and we've played a lot. We've

0:52:39.796 --> 0:52:41.196
<v Speaker 2>gotten to play a lot of shows with Willie over

0:52:41.196 --> 0:52:43.156
<v Speaker 2>the years. I've sang with him a dozen times.

0:52:44.076 --> 0:52:45.436
<v Speaker 1>You know, Willie Nelson, I didn't know.

0:52:45.516 --> 0:52:46.916
<v Speaker 2>Yeah, I mean we're not We don't like to call

0:52:46.956 --> 0:52:49.876
<v Speaker 2>each other because he's you know, he's he's an older guy,

0:52:49.916 --> 0:52:53.916
<v Speaker 2>and but I have. Yeah, we've shared the stage and sung.

0:52:54.156 --> 0:52:55.916
<v Speaker 2>He does this really neat thing every night where he

0:52:55.916 --> 0:52:58.476
<v Speaker 2>does at Medley of I Saw the Light will the

0:52:58.476 --> 0:53:05.036
<v Speaker 2>Circle being broken, and one other blanket on and he

0:53:05.116 --> 0:53:07.956
<v Speaker 2>invites you know, the opener to come out and sing

0:53:07.956 --> 0:53:09.956
<v Speaker 2>it with him. So I've got to do that twelve

0:53:10.036 --> 0:53:14.716
<v Speaker 2>or fifteen times. So he and Dolly tim are the

0:53:14.716 --> 0:53:19.276
<v Speaker 2>two living legends left, you know, in that space. And

0:53:19.316 --> 0:53:22.916
<v Speaker 2>then my third one would be Joelene as a Tennessee.

0:53:22.956 --> 0:53:25.516
<v Speaker 2>And if I didn't mention a Dolly Parton song, I

0:53:25.596 --> 0:53:28.436
<v Speaker 2>couldn't go home. What's your other one or two?

0:53:28.916 --> 0:53:32.996
<v Speaker 1>Uh? George Jones The Grand Tour, that's a sad song.

0:53:34.236 --> 0:53:38.276
<v Speaker 1>It's you know I have. I might be more attracted

0:53:38.316 --> 0:53:42.516
<v Speaker 1>to you, like are attracted to pure emotion, it seems like,

0:53:43.116 --> 0:53:46.556
<v Speaker 1>and I'm attracted in country music too over the top

0:53:46.676 --> 0:53:54.996
<v Speaker 1>grandiosity and the Grand Tour. George Jones is like, he's

0:53:55.076 --> 0:53:58.156
<v Speaker 1>like the he's in the best possible sense of the word,

0:53:58.156 --> 0:54:01.836
<v Speaker 1>a caricature of a country singer. Yes, voice, We're going

0:54:01.876 --> 0:54:06.836
<v Speaker 1>to make the play just the beginning of a play.

0:54:07.396 --> 0:54:11.116
<v Speaker 1>Play the Grand Tour until the line chills me to

0:54:11.156 --> 0:54:17.756
<v Speaker 1>the bone, step Ride, Come only.

0:54:19.236 --> 0:54:23.476
<v Speaker 3>Elf, you'd live to tell the Grand.

0:54:23.316 --> 0:54:31.476
<v Speaker 1>To pr along list so fantastic walks was Home, Sweet Home.

0:54:35.516 --> 0:54:41.036
<v Speaker 1>I have nothing here to sell you to.

0:54:41.076 --> 0:54:45.676
<v Speaker 4>Come saying that I will tell you.

0:54:46.516 --> 0:54:52.836
<v Speaker 5>Something things I know will chill you to the ball.

0:54:55.436 --> 0:54:58.596
<v Speaker 1>I mean the notion that you would write a song that,

0:54:59.116 --> 0:55:02.596
<v Speaker 1>with a straight face, has the phrase chill you to

0:55:02.676 --> 0:55:06.356
<v Speaker 1>the bone. And you know he's got nothing, he doesn't

0:55:06.356 --> 0:55:08.516
<v Speaker 1>have anything. The chill get to the bone. Some woman

0:55:08.596 --> 0:55:09.116
<v Speaker 1>dumped him.

0:55:09.196 --> 0:55:10.076
<v Speaker 3>Yeah, that's it.

0:55:10.436 --> 0:55:12.956
<v Speaker 2>An empty house that this will chill you to the bone.

0:55:13.396 --> 0:55:15.076
<v Speaker 2>My empty house, my empty ass.

0:55:15.476 --> 0:55:18.716
<v Speaker 1>He's so I just can't get over the bath. He's

0:55:18.716 --> 0:55:19.396
<v Speaker 1>so genius.

0:55:19.476 --> 0:55:20.916
<v Speaker 2>Yeah, you love the melodrama.

0:55:21.156 --> 0:55:21.796
<v Speaker 1>I loved the melo.

0:55:21.916 --> 0:55:22.716
<v Speaker 2>Yeah yeah.

0:55:22.756 --> 0:55:25.476
<v Speaker 1>I once back in the day of mixtapes, I used

0:55:25.476 --> 0:55:28.356
<v Speaker 1>to make these mixtapes constantly, and they were always named

0:55:28.356 --> 0:55:32.756
<v Speaker 1>after for reasons I forget now, they were always named

0:55:32.796 --> 0:55:37.116
<v Speaker 1>after popes. So on the front of the CD case,

0:55:37.236 --> 0:55:39.396
<v Speaker 1>i'd have an image of one of the popes, like

0:55:39.436 --> 0:55:42.996
<v Speaker 1>you know, Pope Pious the twelfth or Emmanuel the sixteenth,

0:55:43.356 --> 0:55:47.236
<v Speaker 1>and then the Soul Also, I made like ten of

0:55:47.276 --> 0:55:50.476
<v Speaker 1>them because there were a lot of popes. And I

0:55:50.596 --> 0:55:53.396
<v Speaker 1>was once driving with some person who didn't know me

0:55:53.476 --> 0:55:56.036
<v Speaker 1>very well, and I was playing one of these mixtapes,

0:55:56.076 --> 0:55:58.716
<v Speaker 1>the Long Drive. One of these mixtapes after another, and

0:55:58.756 --> 0:56:01.356
<v Speaker 1>after like the third one, this guy Mike turned to

0:56:01.396 --> 0:56:06.316
<v Speaker 1>me and said, what is the matter with you? Every

0:56:06.396 --> 0:56:09.596
<v Speaker 1>single song was some kind of melancholy, over the top weeper.

0:56:10.396 --> 0:56:13.556
<v Speaker 1>I'm happy if the tempo is never picked up.

0:56:13.756 --> 0:56:20.316
<v Speaker 2>Yeah, songwriting, you're always pulling from your library, you know,

0:56:20.396 --> 0:56:22.956
<v Speaker 2>and you hopefully your library just keeps growing and growing.

0:56:23.276 --> 0:56:24.956
<v Speaker 2>And the trick is when I when I was young,

0:56:25.116 --> 0:56:28.996
<v Speaker 2>you're imitating and then you get better at finding you

0:56:28.996 --> 0:56:30.556
<v Speaker 2>when you find your own voice, and then you're just

0:56:31.196 --> 0:56:34.796
<v Speaker 2>sort of taking cues from your library or not copying anybody,

0:56:34.916 --> 0:56:37.876
<v Speaker 2>but you're you're going, oh, that's interesting. That's kind of

0:56:37.876 --> 0:56:39.876
<v Speaker 2>reminds me of this. Let's you know, make it our own.

0:56:39.916 --> 0:56:44.476
<v Speaker 1>And the people that you've mentioned who are important influences

0:56:44.476 --> 0:56:48.836
<v Speaker 1>for you, we just mentioned we talked before about oh

0:56:49.356 --> 0:56:53.636
<v Speaker 1>about Paul Simon. I'm curious what's the thread that links

0:56:53.676 --> 0:56:55.716
<v Speaker 1>and also Tom. I know that Tom Petty is someone

0:56:56.596 --> 0:56:58.716
<v Speaker 1>that has had an influencer. What what's the thread that

0:56:58.836 --> 0:57:00.796
<v Speaker 1>links these influences.

0:57:01.196 --> 0:57:04.476
<v Speaker 2>I think all those songwriters, I don't know if there's

0:57:04.556 --> 0:57:08.196
<v Speaker 2>if there's actually a perfect common thread between them, but

0:57:08.316 --> 0:57:12.876
<v Speaker 2>something about all those songs or all those artists, they

0:57:12.916 --> 0:57:16.396
<v Speaker 2>made records that really connected with me and helped me

0:57:16.516 --> 0:57:20.156
<v Speaker 2>sort of see the world, if you will, and help

0:57:20.236 --> 0:57:23.436
<v Speaker 2>me feel the world. And that's the beauty of music

0:57:23.516 --> 0:57:25.276
<v Speaker 2>is there's a bit of magic to it, and I'm

0:57:25.316 --> 0:57:31.236
<v Speaker 2>sure there's scientific and sociological ways to explain them. I'm

0:57:31.276 --> 0:57:33.436
<v Speaker 2>not really interested necessarily in hearing them because I like

0:57:33.516 --> 0:57:36.556
<v Speaker 2>the magic of it. I like the myth that I

0:57:36.596 --> 0:57:38.956
<v Speaker 2>don't know why this record speaks to me so much.

0:57:38.996 --> 0:57:44.316
<v Speaker 2>But when I hear you know, Tom Petty's Wildflowers, and

0:57:45.076 --> 0:57:47.676
<v Speaker 2>I hear all I have to hear is you belong

0:57:47.876 --> 0:57:51.156
<v Speaker 2>among the wildflywers, you belong in a boat out at

0:57:51.196 --> 0:57:53.956
<v Speaker 2>sea at that in and of itself is just a

0:57:53.996 --> 0:58:00.876
<v Speaker 2>beautiful sentiment, you know, executed with this, you know, the arrangement,

0:58:00.916 --> 0:58:03.836
<v Speaker 2>the sonic sort of landscape of it. None of the

0:58:03.916 --> 0:58:05.316
<v Speaker 2>artists that I love seemed to sort of play by

0:58:05.356 --> 0:58:08.236
<v Speaker 2>a certain formula. Maybe they do sometimes on certain songs,

0:58:08.316 --> 0:58:10.316
<v Speaker 2>or certain records. But Tom Petty's a great example. If

0:58:10.316 --> 0:58:12.236
<v Speaker 2>you look at his sort of the arc of his

0:58:12.476 --> 0:58:14.596
<v Speaker 2>career and listen to the records, they don't all sound

0:58:14.596 --> 0:58:17.876
<v Speaker 2>the same. There's you know, the different producers have sort

0:58:17.876 --> 0:58:20.316
<v Speaker 2>of different eras and fingerprints on his on his work

0:58:21.436 --> 0:58:24.036
<v Speaker 2>Jeff Lynn stuff is different than the Jimmy Ovine stuff.

0:58:24.076 --> 0:58:28.796
<v Speaker 2>And and I like that that they're always looking for

0:58:29.316 --> 0:58:32.156
<v Speaker 2>something else to say, something else to sing, some new

0:58:32.156 --> 0:58:37.156
<v Speaker 2>way to express human experience via music and instruments and

0:58:37.196 --> 0:58:41.596
<v Speaker 2>electricity and all this stuff that makes this makes it work.

0:58:43.476 --> 0:58:47.316
<v Speaker 1>I asked you to sing one cover. Yeah, tell me

0:58:47.356 --> 0:58:49.156
<v Speaker 1>what you chose and why.

0:58:48.956 --> 0:58:51.636
<v Speaker 2>I Well, I did. I chose this song because you

0:58:51.996 --> 0:58:55.756
<v Speaker 2>and I connected over the song back when we met

0:58:55.756 --> 0:58:58.996
<v Speaker 2>in April. And I just saw this artist play at

0:58:59.036 --> 0:59:03.436
<v Speaker 2>the Rhymann, which is a my favorite venue in the

0:59:03.436 --> 0:59:07.276
<v Speaker 2>world and a serious underplay for him. The last time

0:59:07.276 --> 0:59:09.716
<v Speaker 2>I saw him in Nashville was the Bridgetone Arena. He

0:59:09.756 --> 0:59:12.756
<v Speaker 2>then he retired, and now he's come out of retirement

0:59:12.796 --> 0:59:14.716
<v Speaker 2>to do these intimate acoustic shows. I know that you

0:59:15.396 --> 0:59:17.676
<v Speaker 2>have interacted with him a ton, and I've heard nothing

0:59:17.716 --> 0:59:20.636
<v Speaker 2>but great things about him personally, and I think this

0:59:20.676 --> 0:59:23.316
<v Speaker 2>is one of the great songs. I also think it

0:59:23.716 --> 0:59:26.876
<v Speaker 2>has what I consider the best first line of a

0:59:26.916 --> 0:59:29.716
<v Speaker 2>song that I can that I've ever heard. So this

0:59:29.876 --> 0:59:32.996
<v Speaker 2>is this is Paul Simon's America.

0:59:34.396 --> 0:59:48.316
<v Speaker 5>Mm hmmm, let us be loves, will marry our fortunes together.

0:59:52.636 --> 1:00:00.156
<v Speaker 5>I've got some real estate here in my back. So

1:00:00.276 --> 1:00:08.316
<v Speaker 5>I bought a pack of cigarettes missus Wagners pies, and

1:00:08.516 --> 1:00:11.316
<v Speaker 5>wall walked off to look for.

1:00:13.476 --> 1:00:18.916
<v Speaker 3>Erica.

1:00:20.996 --> 1:00:30.436
<v Speaker 5>Kathy, I said, as we boarded a grayhound in Pittsburgh, Michigan.

1:00:30.916 --> 1:00:32.796
<v Speaker 4>Seems like a dream to me.

1:00:32.916 --> 1:00:39.716
<v Speaker 5>Now. It took me four days to hitch ick from

1:00:39.876 --> 1:00:46.436
<v Speaker 5>sagging off. I've gone to look for Armerica.

1:00:54.076 --> 1:00:57.836
<v Speaker 3>Laughing on of us playing games.

1:00:57.396 --> 1:01:05.636
<v Speaker 5>With their faces, she says, the man in the gabardine

1:01:05.796 --> 1:01:14.356
<v Speaker 5>suit is a spine, I said, be careful his bow tie.

1:01:14.636 --> 1:01:27.436
<v Speaker 5>It's really a camera. Well, toss me a saga. I've

1:01:27.476 --> 1:01:34.596
<v Speaker 5>got one here in my raincoat. No, we smoked the

1:01:34.716 --> 1:01:42.276
<v Speaker 5>last one, and how we'll ago Well, I looked at

1:01:42.276 --> 1:01:50.996
<v Speaker 5>the scenery she read her magazine as the moon rolls

1:01:51.636 --> 1:01:53.036
<v Speaker 5>over and over.

1:01:54.076 --> 1:02:05.236
<v Speaker 4>Open. Feel o, Kathy, I'm lost, I said, though.

1:02:05.076 --> 1:02:06.956
<v Speaker 5>I knew she was sleeping.

1:02:10.836 --> 1:02:14.596
<v Speaker 4>I'm empty and a king, and I don't know why,

1:02:15.716 --> 1:02:16.076
<v Speaker 4>m hmm.

1:02:17.996 --> 1:02:23.636
<v Speaker 5>Counting the cars on the New Jersey Turnpike. They've all

1:02:23.676 --> 1:02:36.196
<v Speaker 5>gone to look Formerica, all gone to look form Maerica.

1:02:38.116 --> 1:02:44.556
<v Speaker 5>We've all gone to look for America.

1:02:51.276 --> 1:02:53.156
<v Speaker 1>Let us be loves.

1:02:53.196 --> 1:02:56.716
<v Speaker 4>We'll marry our fortunes together.

1:03:00.876 --> 1:03:10.556
<v Speaker 1>He ups with thank you, said his concert at the

1:03:10.596 --> 1:03:13.036
<v Speaker 1>Ryman that you saw earlier this.

1:03:13.036 --> 1:03:20.276
<v Speaker 2>Year, and it was actually, this was really sweet for

1:03:20.356 --> 1:03:23.356
<v Speaker 2>me personally. But we played two nights at the Rymond

1:03:23.436 --> 1:03:26.396
<v Speaker 2>on May second and third, and then he played three

1:03:26.516 --> 1:03:30.116
<v Speaker 2>nights at the Rymond May like twelve, thirteenth, and fourteenth,

1:03:30.436 --> 1:03:34.436
<v Speaker 2>and I got to sit and watch a show right

1:03:34.476 --> 1:03:36.476
<v Speaker 2>after I had played there and to see one of

1:03:36.476 --> 1:03:39.316
<v Speaker 2>my heroes in the same spot that I was in

1:03:39.396 --> 1:03:42.756
<v Speaker 2>eight days earlier, and he had the same reverence for

1:03:42.796 --> 1:03:46.436
<v Speaker 2>the room that I always have, and it was it

1:03:46.476 --> 1:03:50.836
<v Speaker 2>was a bit of an emotional and joyous and overwhelming experience.

1:03:51.036 --> 1:03:54.036
<v Speaker 2>And he did two sets. He did the seven Hymns

1:03:54.116 --> 1:03:56.476
<v Speaker 2>record from front to back, and then he came out

1:03:56.476 --> 1:03:58.076
<v Speaker 2>and did sort of all the songs that you would

1:03:58.076 --> 1:04:00.236
<v Speaker 2>want expect to hear in the second set, and it

1:04:00.276 --> 1:04:02.636
<v Speaker 2>was just a yeah, it was wonderful.

1:04:03.236 --> 1:04:05.636
<v Speaker 1>So you were in the middle. You you you were

1:04:05.676 --> 1:04:08.476
<v Speaker 1>in the middle of writing a song about Cormack MacArthur.

1:04:08.676 --> 1:04:09.596
<v Speaker 2>Oh yeah, I was.

1:04:11.316 --> 1:04:13.716
<v Speaker 1>Tell me how that came about. Yeah, you are so.

1:04:14.116 --> 1:04:16.916
<v Speaker 2>Cormick McCarthy is one of my favorite authors. You know,

1:04:17.116 --> 1:04:22.836
<v Speaker 2>Southern Gothic, dark, violent, into the world, apocalypse, human sort

1:04:22.876 --> 1:04:27.716
<v Speaker 2>of morality play author right, very sparse and no country

1:04:27.756 --> 1:04:31.516
<v Speaker 2>for old men, all the pretty horses, the road, so

1:04:31.596 --> 1:04:34.836
<v Speaker 2>many great books that turn into great films, et cetera.

1:04:34.996 --> 1:04:38.596
<v Speaker 2>So he actually grew up in Knoxville, Tennessee, which is

1:04:38.596 --> 1:04:41.196
<v Speaker 2>where I went to school, but he had he left

1:04:41.236 --> 1:04:43.796
<v Speaker 2>there and lived all over but it sort of landed

1:04:43.836 --> 1:04:47.076
<v Speaker 2>in the desert and Santa fel Passo somewhere in there.

1:04:49.796 --> 1:04:55.676
<v Speaker 2>Unrelated to that, seemingly was. I love old cars, and

1:04:55.676 --> 1:04:58.316
<v Speaker 2>so I get this email from a company that auctions

1:04:58.316 --> 1:05:00.436
<v Speaker 2>old cars just because I love just to look at them.

1:05:00.876 --> 1:05:03.676
<v Speaker 2>And I get this email in April, early April. It

1:05:03.716 --> 1:05:08.716
<v Speaker 2>says Cormick McCarthy's Ferrari it's being auctioned off, and so

1:05:09.196 --> 1:05:11.716
<v Speaker 2>kind of like blue affuse in me because I'm like,

1:05:11.796 --> 1:05:15.796
<v Speaker 2>Cormie McCarthy didn't drive. It's like it's like, sure he

1:05:16.196 --> 1:05:20.356
<v Speaker 2>actually did. He drove this black Ferrari in the last

1:05:20.476 --> 1:05:24.996
<v Speaker 2>years of his life, and so I had this idea

1:05:25.036 --> 1:05:28.996
<v Speaker 2>of like writing a song Cormie McCarthy's Black Ferrari, but

1:05:29.036 --> 1:05:32.236
<v Speaker 2>I couldn't quite find my the end, you know, I

1:05:32.276 --> 1:05:35.676
<v Speaker 2>didn't find the end, but I thought, no, I want to.

1:05:35.836 --> 1:05:39.156
<v Speaker 2>I want to drive Cormie McCarthy's Black Ferrari through the

1:05:39.196 --> 1:05:43.876
<v Speaker 2>desert and like and have a complete existential crisis as

1:05:44.156 --> 1:05:46.156
<v Speaker 2>and I feel like everybody right now is sort of

1:05:46.316 --> 1:05:50.636
<v Speaker 2>we sort of live inside of existential crisis. That's that's

1:05:50.676 --> 1:05:53.396
<v Speaker 2>like going to be the era that we live in.

1:05:53.476 --> 1:05:54.996
<v Speaker 2>We look back on it, we're like, that's the that's

1:05:55.036 --> 1:05:58.356
<v Speaker 2>the air of the existential crisis. There's just so much

1:05:58.396 --> 1:06:02.516
<v Speaker 2>happening at such a speed that it's hard to keep up,

1:06:02.516 --> 1:06:04.196
<v Speaker 2>and it's hard to know how to where to put

1:06:04.196 --> 1:06:07.996
<v Speaker 2>your anger and where to put your your joy and

1:06:08.316 --> 1:06:10.916
<v Speaker 2>how to how to live. And I thought one of

1:06:10.916 --> 1:06:12.156
<v Speaker 2>the ways it would help me is if I had

1:06:12.236 --> 1:06:15.556
<v Speaker 2>Corey McCarthy's Black Ferrari for a day. So I wrote

1:06:15.556 --> 1:06:19.476
<v Speaker 2>this song, and first person I sent it to was

1:06:19.516 --> 1:06:20.996
<v Speaker 2>you because we had talked about that.

1:06:20.956 --> 1:06:24.076
<v Speaker 1>Interview and I love old cars too.

1:06:24.196 --> 1:06:26.156
<v Speaker 2>Yeah, and we also we could. Yeah, we connected our

1:06:26.156 --> 1:06:30.956
<v Speaker 2>old cars and I was like, I yeah. So I've

1:06:30.996 --> 1:06:35.516
<v Speaker 2>never played this song before except for during soundcheck, So

1:06:35.556 --> 1:06:39.916
<v Speaker 2>this is this is a debut and I really liked

1:06:39.916 --> 1:06:41.956
<v Speaker 2>this song. And if you don't like it, I don't

1:06:41.996 --> 1:06:43.476
<v Speaker 2>really care that much because I like it a lot.

1:06:43.556 --> 1:06:47.076
<v Speaker 2>So let's see. I remember how to.

1:06:59.156 --> 1:07:03.036
<v Speaker 5>Walking on the sidewalk through my neighborhood. My neighbor's black

1:07:03.156 --> 1:07:06.356
<v Speaker 5>cat is up to no good. There's something in the air,

1:07:06.756 --> 1:07:09.996
<v Speaker 5>something in the streets, like a red tail wading up

1:07:10.036 --> 1:07:13.396
<v Speaker 5>in the trees. There's levees and tolls and roadblocks and

1:07:13.476 --> 1:07:16.236
<v Speaker 5>speed bumps. Has it been a day, a week, or

1:07:16.436 --> 1:07:19.956
<v Speaker 5>just a month? Unwanted packages by the front door screen

1:07:20.076 --> 1:07:27.156
<v Speaker 5>and EMPTYEP pages in my diary. Cormac McCarthy's got a

1:07:27.196 --> 1:07:32.156
<v Speaker 5>black Ferrari that he drives across the desert on a

1:07:33.196 --> 1:07:38.356
<v Speaker 5>Sunday morning, and I'm dreaming about the wind in my face,

1:07:38.516 --> 1:07:43.876
<v Speaker 5>nothing but my worn out suitcase driving that Ferrari, like

1:07:44.476 --> 1:07:59.676
<v Speaker 5>Cormac McCarthy in my mind. In my mind, UF fiasco

1:07:59.876 --> 1:08:03.516
<v Speaker 5>falls like rain on our faces, a Mickey Mantle rookie

1:08:03.516 --> 1:08:06.476
<v Speaker 5>card ruined in the basement, and nothing turns out.

1:08:06.476 --> 1:08:08.956
<v Speaker 4>Like you thought it would. It's a little more bare

1:08:09.156 --> 1:08:10.316
<v Speaker 4>food than Hollywood.

1:08:10.836 --> 1:08:14.796
<v Speaker 5>It's confusing the losing the booze and excusing the stage

1:08:14.876 --> 1:08:16.916
<v Speaker 5>fright and all the troubles shooting.

1:08:17.236 --> 1:08:18.196
<v Speaker 3>Where do I.

1:08:18.156 --> 1:08:20.716
<v Speaker 5>Fit in amongst all the matter in this party?

1:08:20.756 --> 1:08:23.196
<v Speaker 4>He always feels like a lost soul's gathering.

1:08:26.516 --> 1:08:33.676
<v Speaker 5>Cormac McCarthy's got a black Ferrari that he drives across

1:08:33.716 --> 1:08:39.716
<v Speaker 5>the desert on a Sunday morning, And I'm dreaming about

1:08:39.756 --> 1:08:43.876
<v Speaker 5>the wind and my face, nothing but my worn out

1:08:43.876 --> 1:08:50.956
<v Speaker 5>suitcase driving that Ferrari, like Cormac McCarthy in my mind,

1:08:55.996 --> 1:09:05.636
<v Speaker 5>In my mind, engine and fuel and pain and chrome,

1:09:08.276 --> 1:09:14.916
<v Speaker 5>muscle and bl blood and skinning bone. Engine and fuel

1:09:15.076 --> 1:09:22.036
<v Speaker 5>and pain and chrome, muscle and blood and skinning bones.

1:09:27.636 --> 1:09:34.996
<v Speaker 5>Cormac McCarthy's gotten black Ferrari that he drives across the

1:09:35.196 --> 1:09:41.076
<v Speaker 5>desert an him Sunday morning, and I'm dreaming about the

1:09:41.116 --> 1:09:45.716
<v Speaker 5>wind in my face, nothing but warm out suitcase of

1:09:45.876 --> 1:09:51.716
<v Speaker 5>driving that Ferrari, like Cormac McCarthy.

1:09:51.076 --> 1:09:59.996
<v Speaker 12>In my mind, in my mind, in my mind, I'm

1:10:00.116 --> 1:10:05.316
<v Speaker 12>driving Cornmac McCarthy's black Ferra.

1:10:06.196 --> 1:10:12.916
<v Speaker 1>In my mind, I love that.

1:10:14.876 --> 1:10:15.516
<v Speaker 2>I hope you.

1:10:17.636 --> 1:10:21.836
<v Speaker 1>Why you said you couldn't figure out how to couldn't

1:10:21.876 --> 1:10:24.276
<v Speaker 1>figure out your way in? What did you mean by that?

1:10:24.916 --> 1:10:29.676
<v Speaker 2>Well, I had this this like obviously the phrase in

1:10:29.716 --> 1:10:34.996
<v Speaker 2>the rhyme Corey McCarthy's Black Ferrari. It was like, this

1:10:35.076 --> 1:10:38.156
<v Speaker 2>song gonna be like a funny song about how could

1:10:38.156 --> 1:10:46.556
<v Speaker 2>this Maudelin writer have such a you know, cultural toy

1:10:46.796 --> 1:10:48.956
<v Speaker 2>like this. This doesn't make sense to me.

1:10:49.236 --> 1:10:51.996
<v Speaker 1>It should be a old Chevy pick up.

1:10:52.076 --> 1:10:54.716
<v Speaker 2>Right, Yeah, that's like that's the imagination, right, It's not

1:10:55.156 --> 1:10:58.036
<v Speaker 2>that he had this car, so it's like a magnum

1:10:58.076 --> 1:11:01.956
<v Speaker 2>p I car, you know. And so then I was like, no,

1:11:01.996 --> 1:11:04.276
<v Speaker 2>that's not the right frame because what I felt when

1:11:04.316 --> 1:11:07.396
<v Speaker 2>I saw that that existed as a fan of his work,

1:11:07.516 --> 1:11:09.996
<v Speaker 2>and it's also someone who would like to have a

1:11:10.076 --> 1:11:15.156
<v Speaker 2>nineteen eighty nine Testerosa just for a day. Even was

1:11:15.196 --> 1:11:21.876
<v Speaker 2>that No, even the saddest, most sort of gothic, you know,

1:11:22.236 --> 1:11:29.076
<v Speaker 2>the chronicler of American violence needed an escape, and so

1:11:29.156 --> 1:11:30.876
<v Speaker 2>he had this Black Ferrari and he would just go.

1:11:31.276 --> 1:11:34.276
<v Speaker 2>I'd imagine him smiling, driving one hundred and twenty miles

1:11:34.276 --> 1:11:36.356
<v Speaker 2>an hour across the desert in Santa Fe. And there's

1:11:36.356 --> 1:11:37.956
<v Speaker 2>not a picture in the world that exists of Corn

1:11:38.036 --> 1:11:43.916
<v Speaker 2>McCarthy's smiling no, and so I relate to that. I

1:11:44.476 --> 1:11:51.436
<v Speaker 2>relate to feeling the weight of of you know, life

1:11:51.476 --> 1:11:54.916
<v Speaker 2>and all of its like joys and tragedies, and that

1:11:55.276 --> 1:12:01.316
<v Speaker 2>sometimes the simple pleasure might make it go away for

1:12:01.356 --> 1:12:01.836
<v Speaker 2>a minute.

1:12:02.036 --> 1:12:05.716
<v Speaker 1>Has that song as it stands? Now? Have you worked

1:12:05.756 --> 1:12:07.156
<v Speaker 1>on that with the band? Or is at all you

1:12:07.276 --> 1:12:07.716
<v Speaker 1>at this point?

1:12:07.756 --> 1:12:09.516
<v Speaker 2>Well, they've heard it, but we haven't know. We wait

1:12:09.596 --> 1:12:11.236
<v Speaker 2>till we all get in the room together before we

1:12:11.436 --> 1:12:12.796
<v Speaker 2>sort of dive into it.

1:12:12.956 --> 1:12:16.516
<v Speaker 1>But yeah, what will happen to it when when you

1:12:16.556 --> 1:12:17.156
<v Speaker 1>all dive in?

1:12:17.556 --> 1:12:20.756
<v Speaker 2>I don't know. I mean, we'll we'll go through several iterations.

1:12:20.756 --> 1:12:22.276
<v Speaker 2>First thing we'll do is we'll make sure we're in

1:12:22.276 --> 1:12:24.076
<v Speaker 2>the right key. We'll do some practical things, make sure

1:12:24.076 --> 1:12:27.516
<v Speaker 2>we're the right key, figure out the tempo, and then

1:12:27.556 --> 1:12:29.956
<v Speaker 2>we'll sort of jump into the approach, you know, like

1:12:30.276 --> 1:12:31.996
<v Speaker 2>what are the drums gonna be doing? Are we are we?

1:12:32.196 --> 1:12:35.876
<v Speaker 2>Is this acoustic sort of is that the main engine

1:12:35.916 --> 1:12:37.716
<v Speaker 2>driver of the song? Or are we gonna do like

1:12:37.756 --> 1:12:41.596
<v Speaker 2>a piano bass drums thing? And then you know, just

1:12:41.676 --> 1:12:43.676
<v Speaker 2>kind of like try a bunch of different things and

1:12:43.716 --> 1:12:46.916
<v Speaker 2>then inevitably one of them, all five of us will

1:12:46.916 --> 1:12:48.676
<v Speaker 2>go that's it. That's the that's the approach.

1:12:49.676 --> 1:12:53.156
<v Speaker 1>Yeah, it's a really beautiful song. Thank you, Thank you do.

1:12:53.276 --> 1:12:56.996
<v Speaker 1>I think we're I think our time is.

1:12:58.516 --> 1:13:00.116
<v Speaker 2>I have no idea ho much time we've been up

1:13:00.116 --> 1:13:00.716
<v Speaker 2>for a while.

1:13:00.556 --> 1:13:02.556
<v Speaker 1>Though we've been up here a while. Yeah, I feel

1:13:02.796 --> 1:13:06.716
<v Speaker 1>are people lurking? How should we end this?

1:13:07.516 --> 1:13:07.916
<v Speaker 2>I don't know.

1:13:09.996 --> 1:13:12.276
<v Speaker 1>I'm being sumptuous. So if I ask you to play

1:13:12.276 --> 1:13:12.916
<v Speaker 1>one more song.

1:13:12.756 --> 1:13:20.196
<v Speaker 2>Sure, Sure, I'll play a song I wrote. There's a

1:13:20.436 --> 1:13:24.036
<v Speaker 2>wonderful band in Nashville that has toured for many years

1:13:24.076 --> 1:13:27.036
<v Speaker 2>called Old Crow Medicine Show Good. My kids go to

1:13:27.076 --> 1:13:29.916
<v Speaker 2>school with some of Ketsch's kids, who's the lead singer

1:13:29.916 --> 1:13:32.476
<v Speaker 2>and writer. And this is a great Nashville story. We're

1:13:32.556 --> 1:13:34.716
<v Speaker 2>dropping our kids off at school and he's like, what

1:13:34.716 --> 1:13:36.756
<v Speaker 2>are you up to this week? And I said, I'm

1:13:36.756 --> 1:13:38.516
<v Speaker 2>just gonna be in my office doing some writing and

1:13:39.396 --> 1:13:42.196
<v Speaker 2>you know, working, And he said we should write a

1:13:42.236 --> 1:13:44.396
<v Speaker 2>song this week. We'd never written a song together before,

1:13:45.196 --> 1:13:46.876
<v Speaker 2>and so I said, well how about tomorrow morning. So

1:13:47.036 --> 1:13:48.916
<v Speaker 2>the next morning, we drop our kids off, we get coffee.

1:13:48.916 --> 1:13:51.876
<v Speaker 2>About eight thirty, we're writing songs, and we wrote this

1:13:51.956 --> 1:13:54.276
<v Speaker 2>song about ten thirty that morning. We both had just

1:13:54.316 --> 1:13:57.316
<v Speaker 2>gotten back into doing normal shows again with a real

1:13:57.476 --> 1:13:59.636
<v Speaker 2>with live audiences, and we had really missed that.

1:13:59.876 --> 1:14:02.836
<v Speaker 1>So this is such a fantastic only in Nashville story.

1:14:02.916 --> 1:14:05.436
<v Speaker 2>Yeah it is. And then it was a great It

1:14:05.476 --> 1:14:06.876
<v Speaker 2>was a great song for me. It ended up being

1:14:06.956 --> 1:14:09.516
<v Speaker 2>It's the song is called Dance with Everybody, ended up

1:14:09.516 --> 1:14:12.636
<v Speaker 2>getting picked up by the NCAA for two years straight

1:14:12.676 --> 1:14:16.636
<v Speaker 2>as the theme song for March Madness, which a song

1:14:16.716 --> 1:14:22.356
<v Speaker 2>is not about basketball, and b I am like one

1:14:22.356 --> 1:14:26.636
<v Speaker 2>of the world's worst basketball players in a big family

1:14:26.636 --> 1:14:27.956
<v Speaker 2>of athletes, and so it brought me a lot of

1:14:27.956 --> 1:14:32.716
<v Speaker 2>satisfaction that my song I was in. I got to

1:14:32.716 --> 1:14:36.396
<v Speaker 2>participate in March Madness. None of my none of my athletics,

1:14:36.396 --> 1:14:37.636
<v Speaker 2>six three cousins did.

1:14:37.756 --> 1:14:49.876
<v Speaker 5>So you walked into this room, you hardly knew anyone.

1:14:50.956 --> 1:14:54.716
<v Speaker 5>See full of strange, just crashing all the rooms with

1:14:54.876 --> 1:14:57.476
<v Speaker 5>the band strikes. By the end of the night's strange

1:14:57.476 --> 1:15:01.876
<v Speaker 5>as normal. I want to dance with everybody.

1:15:01.116 --> 1:15:04.036
<v Speaker 9>Who came through that dog, whether you came here to

1:15:04.196 --> 1:15:08.316
<v Speaker 9>party or you came here to cry, whether that'll meet somebody,

1:15:08.516 --> 1:15:10.956
<v Speaker 9>cheat somebody to get little get high.

1:15:11.236 --> 1:15:12.956
<v Speaker 4>So come on, all you people.

1:15:13.116 --> 1:15:14.636
<v Speaker 3>Hit two feet on your floor.

1:15:14.916 --> 1:15:18.676
<v Speaker 9>I want to dance with everybody and came through that door.

1:15:19.716 --> 1:15:22.676
<v Speaker 3>WHOA, let it all go?

1:15:23.876 --> 1:15:29.036
<v Speaker 5>WHOA, Shake up your soul, throw your hands in the air,

1:15:29.476 --> 1:15:32.556
<v Speaker 5>throw your hat in the ring, grow your hips in

1:15:32.676 --> 1:15:36.676
<v Speaker 5>your heart into everything, Get lost.

1:15:36.436 --> 1:15:39.836
<v Speaker 9>In the crowd, Get down on the floor. I wanna

1:15:39.916 --> 1:15:48.356
<v Speaker 9>dance with everybody came in that door. Well, come, all.

1:15:48.236 --> 1:15:50.156
<v Speaker 2>Your saints and sinners.

1:15:49.796 --> 1:15:51.596
<v Speaker 3>Poets, profits and fools.

1:15:51.796 --> 1:15:54.716
<v Speaker 5>Are you cowboys, tricks and zipss trying so hard to

1:15:54.756 --> 1:15:59.436
<v Speaker 5>be cool? All you dreamers and schemers thirsty for more?

1:15:59.636 --> 1:16:02.916
<v Speaker 3>I wanna dance with everybody.

1:16:02.356 --> 1:16:03.356
<v Speaker 2>Came through that door.

1:16:04.396 --> 1:16:08.796
<v Speaker 4>WHOA, let it all go? Whoa.

1:16:09.156 --> 1:16:13.476
<v Speaker 5>Oh, shake up your soul. Royal hands in the air,

1:16:13.996 --> 1:16:17.716
<v Speaker 5>royal hat in the ring, royal hips in your heart

1:16:17.836 --> 1:16:22.996
<v Speaker 5>into everything, Get lost in the crowd, Get down on

1:16:23.036 --> 1:16:23.556
<v Speaker 5>the floor.

1:16:23.756 --> 1:16:24.916
<v Speaker 3>I want to dance with.

1:16:25.076 --> 1:16:27.476
<v Speaker 5>Everybody came through that door.

1:16:29.916 --> 1:16:42.036
<v Speaker 13>Oh where, ohhey, ohhay.

1:16:43.956 --> 1:16:46.996
<v Speaker 3>Well, let's put us oude our differences. We'll lace up

1:16:47.036 --> 1:16:51.156
<v Speaker 3>our shoes. Let's narrow the distance between.

1:16:50.836 --> 1:16:53.516
<v Speaker 4>Me and meet me in the middle.

1:16:54.116 --> 1:16:55.476
<v Speaker 3>Let's quit keeping score.

1:16:55.636 --> 1:16:59.316
<v Speaker 9>I want to dance with everybody came through that door.

1:17:00.356 --> 1:17:03.196
<v Speaker 3>WHOA, let it all go.

1:17:04.396 --> 1:17:10.076
<v Speaker 14>WHOA shake up your soul, Throw hands in the royal

1:17:10.276 --> 1:17:15.076
<v Speaker 14>had read royal hips in your heart into everything.

1:17:15.676 --> 1:17:18.556
<v Speaker 5>Turn the world on a stream, Turn the winds on

1:17:18.676 --> 1:17:21.796
<v Speaker 5>a dive, Turn the wheel to the west, and the

1:17:21.916 --> 1:17:23.156
<v Speaker 5>water the wine.

1:17:23.676 --> 1:17:27.076
<v Speaker 3>Get lost in the crowd, get down on the swoon.

1:17:27.276 --> 1:17:31.316
<v Speaker 9>I want to dance with everybody came through that I

1:17:31.476 --> 1:17:35.316
<v Speaker 9>want to dance with everybody who came through that door.

1:17:37.276 --> 1:17:51.596
<v Speaker 1>Oh, thank you so much, Drew, Thank you all. This

1:17:51.676 --> 1:17:54.236
<v Speaker 1>episode of Broken Record is produced by Lea Rose and

1:17:54.356 --> 1:17:57.156
<v Speaker 1>Nina Bird Lawrence, with bend A, da f Haffrey and

1:17:57.276 --> 1:18:01.276
<v Speaker 1>Lucy Sullivan. Our engineers are Nina Bird Lawrence, Sarah Buguerer,

1:18:01.556 --> 1:18:05.516
<v Speaker 1>and Ben Holliday. Marketing by Eric Sandler and Jordan McMillan.

1:18:06.036 --> 1:18:10.396
<v Speaker 1>Our executive producers are Jacob Smith and Justin Richmond. Special

1:18:10.436 --> 1:18:13.516
<v Speaker 1>thanks to Wage twenty four, to Wallowise Linton, and to

1:18:13.596 --> 1:18:16.596
<v Speaker 1>the whole crew over at the Cherry Lane Theater. My

1:18:16.756 --> 1:18:18.396
<v Speaker 1>name is Malcolm Gabo.