1 00:00:01,240 --> 00:00:05,600 Speaker 1: Welcome to the Taking a Walk podcast Music History on Foot. 2 00:00:05,920 --> 00:00:11,719 Speaker 1: Follow this audio storytelling podcast at Apple podcast, Spotify, podcast Playground, 3 00:00:12,039 --> 00:00:15,600 Speaker 1: or wherever you get your podcasts. On this episode, joined 4 00:00:15,600 --> 00:00:18,079 Speaker 1: Buzz Night as he takes to the streets of South 5 00:00:18,120 --> 00:00:21,520 Speaker 1: Philly with Adam Wiener from the band Low Cut Connie. 6 00:00:22,239 --> 00:00:25,720 Speaker 1: They're a band heralded for their amazing live performances. Everyone 7 00:00:25,760 --> 00:00:28,960 Speaker 1: from Springsteen to Elton John has become a fan, and 8 00:00:29,000 --> 00:00:32,560 Speaker 1: you will also when Adam from Low Cut Connie joins 9 00:00:32,600 --> 00:00:34,760 Speaker 1: Buzz next on Taking a Walk. 10 00:00:36,760 --> 00:00:39,320 Speaker 2: Well, it's so great to be taking a walk here 11 00:00:39,520 --> 00:00:41,519 Speaker 2: in South Philly. 12 00:00:41,840 --> 00:00:45,559 Speaker 3: Yeah right, oh yeah, this is definitely South Philly. You 13 00:00:45,560 --> 00:00:49,519 Speaker 3: can tell from the people. Everybody's gone an attitude. Look 14 00:00:49,560 --> 00:00:50,240 Speaker 3: at these people. 15 00:00:52,040 --> 00:00:55,000 Speaker 4: Adam, It's so nice to meet you too. 16 00:00:55,880 --> 00:00:59,319 Speaker 2: As I was waiting for you here, you'll dig this. 17 00:00:59,440 --> 00:01:03,200 Speaker 2: So the guy was walking with a baby and a 18 00:01:03,240 --> 00:01:06,240 Speaker 2: stroller and I heard. 19 00:01:06,120 --> 00:01:14,240 Speaker 5: Him go dud dud d dud d d d D. 20 00:01:14,880 --> 00:01:18,440 Speaker 2: And I couldn't help myself because sometimes once in a 21 00:01:18,480 --> 00:01:22,399 Speaker 2: while I am like a human shizam and I went 22 00:01:23,080 --> 00:01:27,119 Speaker 2: birdland and he goes, yeah, how'd you know that? 23 00:01:27,200 --> 00:01:27,320 Speaker 3: How? 24 00:01:27,360 --> 00:01:31,640 Speaker 6: I said, that's one of my favorites. Manh yeah, and 25 00:01:31,680 --> 00:01:32,600 Speaker 6: he started telling me. 26 00:01:32,680 --> 00:01:35,000 Speaker 7: He said, he goes, I knew Jocko. 27 00:01:35,920 --> 00:01:39,880 Speaker 2: Who said, you knew Jocko Pastorius whole he smokes and 28 00:01:39,959 --> 00:01:43,200 Speaker 2: we talked for five minutes. So I have always felt 29 00:01:43,720 --> 00:01:48,560 Speaker 2: the people from Philadelphia are tremendously friendly and. 30 00:01:50,040 --> 00:01:52,920 Speaker 6: The one bad rap I think that they deserve is there. 31 00:01:52,960 --> 00:01:56,000 Speaker 6: I think they're they're driving leads a little bit to 32 00:01:56,040 --> 00:01:57,160 Speaker 6: be desired. 33 00:01:56,960 --> 00:02:00,720 Speaker 3: Not good at driving. Where the meanest sports fans in 34 00:02:00,760 --> 00:02:05,800 Speaker 3: the world. You know, we torture, We torture people here. 35 00:02:06,240 --> 00:02:08,440 Speaker 3: And you know when you heard the story about that 36 00:02:08,560 --> 00:02:11,799 Speaker 3: robot that came to Philly, that toured the world and 37 00:02:12,000 --> 00:02:16,280 Speaker 3: the people in Philly killed the robot and mutilated it. 38 00:02:16,280 --> 00:02:19,760 Speaker 3: It visited like all these different countries and cities and states, 39 00:02:19,840 --> 00:02:24,840 Speaker 3: but when it got to Philly, our people murdered this robot. So, 40 00:02:27,040 --> 00:02:28,400 Speaker 3: but I will own. 41 00:02:28,200 --> 00:02:30,640 Speaker 2: Conclusions, Yeah, I mean, but I will say some of 42 00:02:30,680 --> 00:02:32,880 Speaker 2: this is legacy building, don't you think? 43 00:02:33,280 --> 00:02:39,000 Speaker 3: Yeah, I mean people in Philly like to be perceived 44 00:02:39,040 --> 00:02:41,200 Speaker 3: as tough, if you know what I mean. 45 00:02:42,000 --> 00:02:46,320 Speaker 2: Where do you think that comes from an inferiority complex 46 00:02:47,000 --> 00:02:48,600 Speaker 2: to New York right too? 47 00:02:48,800 --> 00:02:54,280 Speaker 3: Everywhere to everywhere? Like you know that, you know that 48 00:02:54,560 --> 00:02:57,960 Speaker 3: slogan from the Eagles. No one likes us. We don't care. 49 00:02:59,120 --> 00:03:05,280 Speaker 3: They care if you have to say it, you care, right, No. 50 00:03:05,440 --> 00:03:10,519 Speaker 3: I mean, it's like you've got New York City right there, 51 00:03:10,560 --> 00:03:15,760 Speaker 3: You've got Washington, d C. Right there, And Philly was 52 00:03:16,000 --> 00:03:19,280 Speaker 3: the biggest and most important city in the United States 53 00:03:19,280 --> 00:03:22,880 Speaker 3: in the early part of this country, and then it 54 00:03:22,960 --> 00:03:28,560 Speaker 3: wasn't you know, And that's still that's still thumbprinted on 55 00:03:28,720 --> 00:03:29,160 Speaker 3: the city. 56 00:03:31,160 --> 00:03:36,480 Speaker 6: But I also think that, you know, the cities are 57 00:03:36,520 --> 00:03:37,800 Speaker 6: having a tough time these. 58 00:03:37,720 --> 00:03:42,000 Speaker 3: Days, don't you think every city absolutely? And I think Philadelphia, 59 00:03:43,000 --> 00:03:46,600 Speaker 3: I see, I love it here because it's never the 60 00:03:46,840 --> 00:03:50,280 Speaker 3: it city, you know, like if you go to Nashville 61 00:03:50,760 --> 00:03:55,560 Speaker 3: or Austin or San Francisco, these are places that have 62 00:03:55,720 --> 00:04:00,640 Speaker 3: completely transformed because they had some sort of moment. You know. 63 00:04:01,600 --> 00:04:07,840 Speaker 3: Philly plods along in its dysfunctional way, with all of 64 00:04:07,840 --> 00:04:10,960 Speaker 3: its charms, with all of its soul, with all of 65 00:04:10,960 --> 00:04:17,080 Speaker 3: its dysfunctions. And people may discover us, they may not. 66 00:04:18,000 --> 00:04:21,120 Speaker 3: People that live here love it, but it's never like 67 00:04:21,400 --> 00:04:25,440 Speaker 3: the in fashion, trendy city. And I'm a okay with that. 68 00:04:26,760 --> 00:04:29,080 Speaker 8: Do you think though, this thing about the cities is 69 00:04:29,960 --> 00:04:34,159 Speaker 8: a bit of a journalistic click bait these days, or 70 00:04:34,279 --> 00:04:37,640 Speaker 8: is it really a problem how the decaying of cities 71 00:04:37,720 --> 00:04:38,240 Speaker 8: is occurring. 72 00:04:38,800 --> 00:04:40,839 Speaker 3: I don't know if i'd use the word decay. I 73 00:04:40,880 --> 00:04:44,880 Speaker 3: wouldn't use the word decay, but changing, and in some 74 00:04:45,000 --> 00:04:48,120 Speaker 3: ways I think for the better. There's some things this 75 00:04:48,240 --> 00:04:50,559 Speaker 3: is the world, but some things are always getting worse 76 00:04:50,600 --> 00:04:55,000 Speaker 3: and some things are getting better. You know, we get 77 00:04:55,040 --> 00:04:58,000 Speaker 3: the message that everything is getting worse, but some things 78 00:04:58,040 --> 00:05:02,560 Speaker 3: are getting better personally, personally in terms of COVID and 79 00:05:02,600 --> 00:05:06,800 Speaker 3: what it did to cities, there's some positives. There's a 80 00:05:06,839 --> 00:05:09,080 Speaker 3: lot of negatives, but I think there's some positives too. 81 00:05:09,600 --> 00:05:12,919 Speaker 3: For me, I'm an artist living in the middle of 82 00:05:12,960 --> 00:05:17,040 Speaker 3: a crazy city. And when I was growing up in 83 00:05:17,080 --> 00:05:21,320 Speaker 3: the suburbs in New Jersey, you know, families with kids 84 00:05:22,240 --> 00:05:25,960 Speaker 3: lived out in the burbs, and the freaky, dky people, 85 00:05:27,000 --> 00:05:32,760 Speaker 3: the artists, queer people, crazy people, people who are just 86 00:05:32,920 --> 00:05:37,600 Speaker 3: looking to live a different kind of life than you 87 00:05:37,640 --> 00:05:41,320 Speaker 3: can find in the suburbs come to the city. Well 88 00:05:41,440 --> 00:05:46,039 Speaker 3: over the last generation that change, like families are living 89 00:05:46,120 --> 00:05:49,239 Speaker 3: in the city more and more and more, and artists 90 00:05:49,279 --> 00:05:54,279 Speaker 3: are getting priced out and people of color getting priced 91 00:05:54,320 --> 00:05:58,200 Speaker 3: out the neighborhood characters getting lost. But during COVID that 92 00:05:58,400 --> 00:06:01,800 Speaker 3: changed back backs again. A lot of the families and 93 00:06:01,839 --> 00:06:04,720 Speaker 3: stuff went out to the burbs again. And I see 94 00:06:04,760 --> 00:06:07,839 Speaker 3: a lot more freaky Dki people in Philadelphia these days, 95 00:06:07,839 --> 00:06:10,279 Speaker 3: and I like that. That's what I want to see. 96 00:06:11,480 --> 00:06:13,680 Speaker 2: Let's take a little walk here around this area and 97 00:06:13,680 --> 00:06:15,520 Speaker 2: see some freaky diki people. 98 00:06:15,839 --> 00:06:19,800 Speaker 3: In Yiddish we say dre around. Let's go dray around around. 99 00:06:20,480 --> 00:06:22,880 Speaker 7: So this is Columbus Square South Silly. 100 00:06:23,200 --> 00:06:25,880 Speaker 3: Yeah, and you like. 101 00:06:25,839 --> 00:06:27,720 Speaker 9: To come over here and run once in a while 102 00:06:27,920 --> 00:06:30,799 Speaker 9: all the time, yeah, all the time. And in fact, 103 00:06:32,240 --> 00:06:34,240 Speaker 9: you never know who you're going to see in this park. 104 00:06:36,640 --> 00:06:43,080 Speaker 9: And this neighborhood is kind of like the un you 105 00:06:43,200 --> 00:06:46,920 Speaker 9: have in that direction, a mostly black neighborhood in that direction, 106 00:06:47,080 --> 00:06:48,400 Speaker 9: of Vietnamese neighborhood. 107 00:06:48,440 --> 00:06:53,680 Speaker 3: In this direction is a Lebanese area and Cambodian that way, 108 00:06:55,040 --> 00:06:59,400 Speaker 3: Italian market there, Mexican market there, and everything in between. 109 00:07:00,600 --> 00:07:05,400 Speaker 3: You've got the Chinese area down here in Washington. You 110 00:07:05,480 --> 00:07:10,240 Speaker 3: hear every language spoken, and that is what I love 111 00:07:10,280 --> 00:07:11,280 Speaker 3: about this neighborhood. 112 00:07:11,560 --> 00:07:12,800 Speaker 7: Yeah, I love that too. 113 00:07:12,880 --> 00:07:16,080 Speaker 2: That's sort of you know, when I think of great 114 00:07:16,120 --> 00:07:19,600 Speaker 2: places like well, Boston is that way where I live. 115 00:07:20,680 --> 00:07:22,400 Speaker 6: Chicago's that way, certainly. 116 00:07:22,720 --> 00:07:24,920 Speaker 3: Yeah, It's like when I lived in New York City. 117 00:07:24,920 --> 00:07:27,920 Speaker 3: I lived in Queens for many years. Queens is like that. 118 00:07:28,080 --> 00:07:37,800 Speaker 3: It's like the un It's like Greek, Argentinian, people from Africa, Cambodia, Vietnam. 119 00:07:37,840 --> 00:07:40,600 Speaker 3: It's like everything. That's what I like about the city. 120 00:07:41,840 --> 00:07:44,120 Speaker 2: So take me back to growing up in the suburbs. 121 00:07:44,120 --> 00:07:46,320 Speaker 2: What town did you grow up in? 122 00:07:46,440 --> 00:07:53,400 Speaker 3: Cherry Hill, twenty minutes from here, the most suburban suburb 123 00:07:54,280 --> 00:08:01,680 Speaker 3: of Philadelphia. Yeah, I mean before I was born, it 124 00:08:01,720 --> 00:08:05,680 Speaker 3: was like all farms, and then in my parents' generation, 125 00:08:05,840 --> 00:08:11,000 Speaker 3: they built all these very new places. They built the 126 00:08:11,080 --> 00:08:14,240 Speaker 3: Cherry Hill Mall, which I worked at. I worked at 127 00:08:14,280 --> 00:08:19,080 Speaker 3: Macy's for years as a perfume in Cologne spritzer. You 128 00:08:19,120 --> 00:08:21,160 Speaker 3: know the people that attack you when you go into 129 00:08:21,160 --> 00:08:23,680 Speaker 3: the mall and spray you. I was one of those people. 130 00:08:23,880 --> 00:08:24,080 Speaker 7: Yep. 131 00:08:25,080 --> 00:08:27,560 Speaker 3: So I grew up. I was like a mall rat 132 00:08:28,040 --> 00:08:34,920 Speaker 3: Jersey suburb kid, and all I wanted to do was 133 00:08:36,280 --> 00:08:39,720 Speaker 3: go to a city. And so when I was eighteen, 134 00:08:39,720 --> 00:08:42,839 Speaker 3: I went to New York City and packed up and 135 00:08:43,840 --> 00:08:47,800 Speaker 3: I got into school, which I didn't care about school. 136 00:08:47,840 --> 00:08:49,880 Speaker 3: I was just an excuse to move to New York. 137 00:08:51,200 --> 00:08:53,480 Speaker 3: I got a job the first week I was there, 138 00:08:53,520 --> 00:08:58,360 Speaker 3: playing piano in a restaurant, which led to all these 139 00:08:58,400 --> 00:09:01,920 Speaker 3: other bars and restaurants hiring me to play piano, and 140 00:09:02,000 --> 00:09:07,040 Speaker 3: I started my gigging life, my performing life for real 141 00:09:07,120 --> 00:09:07,679 Speaker 3: at eighteen. 142 00:09:08,559 --> 00:09:10,720 Speaker 2: But you must have had a sentence before that that 143 00:09:10,800 --> 00:09:14,000 Speaker 2: you had this intense musical connection. 144 00:09:15,040 --> 00:09:18,040 Speaker 3: I wanted to be an actor before that. I knew 145 00:09:18,040 --> 00:09:22,199 Speaker 3: I wanted to be on stage. I was the star 146 00:09:22,320 --> 00:09:25,719 Speaker 3: of all the plays in high school. I also had 147 00:09:25,720 --> 00:09:30,760 Speaker 3: a band. My music though the songs that I wrote, 148 00:09:31,040 --> 00:09:34,160 Speaker 3: that was a secret. I never played my own music 149 00:09:34,240 --> 00:09:40,120 Speaker 3: for anybody, and I don't think I ever thought that 150 00:09:40,200 --> 00:09:43,079 Speaker 3: I was ever going to do anything with my songs. 151 00:09:43,800 --> 00:09:47,640 Speaker 3: That was like my just for me, And so it's 152 00:09:47,760 --> 00:09:51,480 Speaker 3: a real twist for me to be out here in 153 00:09:51,520 --> 00:09:55,199 Speaker 3: the world as a professional songwriter singer. 154 00:09:55,320 --> 00:09:59,560 Speaker 2: You know, So who coaxed you to share the music 155 00:09:59,600 --> 00:10:00,600 Speaker 2: that you had created? 156 00:10:01,840 --> 00:10:09,199 Speaker 3: I coaxed myself because when I got these gigs playing 157 00:10:09,240 --> 00:10:15,120 Speaker 3: piano in these places, and people, you know, requested songs, 158 00:10:16,720 --> 00:10:22,480 Speaker 3: I started to write songs, you know, for the clientele 159 00:10:22,559 --> 00:10:25,400 Speaker 3: that was there. Like if I played in kind of 160 00:10:25,440 --> 00:10:30,719 Speaker 3: a shit kickery country place, I needed to have country songs, right. 161 00:10:31,679 --> 00:10:36,200 Speaker 3: If I played in the very upscale gay piano bar, 162 00:10:36,400 --> 00:10:40,640 Speaker 3: I needed to have that material. If I played in 163 00:10:40,840 --> 00:10:43,679 Speaker 3: an Italian restaurant in Queens, which I did for a while, 164 00:10:43,720 --> 00:10:46,840 Speaker 3: I needed to have that repertoire. And so I would 165 00:10:46,920 --> 00:10:51,080 Speaker 3: start to write material to please the people in the 166 00:10:51,080 --> 00:10:57,760 Speaker 3: places I was gonna be and that turned into songs 167 00:10:57,800 --> 00:11:01,960 Speaker 3: that I'm performing in public for people that I wrote, 168 00:11:02,200 --> 00:11:04,680 Speaker 3: and a lot of times I was kind of pawning 169 00:11:04,679 --> 00:11:07,400 Speaker 3: my own songs off as cover songs, if that makes sense. 170 00:11:07,440 --> 00:11:11,679 Speaker 3: I wanted some of the material to sound classic, right, 171 00:11:15,200 --> 00:11:18,640 Speaker 3: Like if I played in this show tune bar, I 172 00:11:18,679 --> 00:11:22,360 Speaker 3: would write songs that sounded like old show tunes, right. 173 00:11:23,640 --> 00:11:34,560 Speaker 3: And I sort of developed a skill, and I realized that, 174 00:11:35,400 --> 00:11:43,440 Speaker 3: probably more than acting or any other artistic pursuit that 175 00:11:43,480 --> 00:11:46,280 Speaker 3: I was interested in, that writing songs was probably the 176 00:11:46,320 --> 00:11:50,360 Speaker 3: thing that I was most naturally good at. And so 177 00:11:50,480 --> 00:11:51,640 Speaker 3: it kind of went from there. 178 00:11:53,480 --> 00:11:57,280 Speaker 2: And did you have somebody that was sort of a mentor. 179 00:11:56,920 --> 00:12:01,600 Speaker 3: At that time? No, not at all, not really, because song, 180 00:12:01,800 --> 00:12:07,600 Speaker 3: if you're a piano person, is a very solitary musical endeavor. 181 00:12:07,840 --> 00:12:11,640 Speaker 3: You know, there's a film actually that I love. It's 182 00:12:11,679 --> 00:12:15,280 Speaker 3: from forty plus years ago. It's called Piano Players Never 183 00:12:15,320 --> 00:12:20,680 Speaker 3: Play Together. Okay, it's a New Orleans piano film, and 184 00:12:20,760 --> 00:12:25,200 Speaker 3: it really captures just in the title that you know, 185 00:12:25,320 --> 00:12:28,800 Speaker 3: guitar players they like jam together, drummers kind of like 186 00:12:28,840 --> 00:12:35,440 Speaker 3: woodshed together, etc. But piano we're very solitary. You know. 187 00:12:35,520 --> 00:12:39,079 Speaker 3: There's never two pianos together. And if you play piano, 188 00:12:39,600 --> 00:12:42,120 Speaker 3: you're trying to kind of be the whole band, right, 189 00:12:42,200 --> 00:12:46,520 Speaker 3: you got to be the rhythm section and everything. So no, 190 00:12:46,640 --> 00:12:50,960 Speaker 3: I didn't really have anybody I can think of that 191 00:12:51,200 --> 00:12:53,920 Speaker 3: was like a musical mentor that I knew in person, 192 00:12:56,800 --> 00:13:04,440 Speaker 3: until you know, the one person that comes to mind 193 00:13:05,280 --> 00:13:15,319 Speaker 3: who I only spoke to one time I went to Memphis, Tennessee. 194 00:13:16,080 --> 00:13:19,439 Speaker 3: I went to Memphis, Tennessee in two thousand and one. 195 00:13:20,600 --> 00:13:24,760 Speaker 3: I did a semester at the University of Memphis, just 196 00:13:24,840 --> 00:13:28,160 Speaker 3: because I wanted to go to Memphis and listen to 197 00:13:28,160 --> 00:13:31,679 Speaker 3: blues and country and Elvis and just be there, you know. 198 00:13:31,880 --> 00:13:34,240 Speaker 3: And I got an internship at a radio station there. 199 00:13:34,280 --> 00:13:37,319 Speaker 3: I just wanted to be in Memphis. And I met 200 00:13:37,360 --> 00:13:42,040 Speaker 3: this guy named Mose Vincent, who at the time was 201 00:13:42,200 --> 00:13:47,520 Speaker 3: probably close to ninety at that point, and he was 202 00:13:47,559 --> 00:13:52,400 Speaker 3: a piano player that had been playing and recording all 203 00:13:52,440 --> 00:13:56,880 Speaker 3: the way back to the nineteen forties. He played piano 204 00:13:57,000 --> 00:14:01,640 Speaker 3: on a bunch of early Sun Records sessions early fifties, 205 00:14:01,679 --> 00:14:06,320 Speaker 3: pre Elvis, and he had a gig at this place 206 00:14:06,360 --> 00:14:09,400 Speaker 3: called Center for Southern Folklore. I think it was every 207 00:14:09,400 --> 00:14:12,360 Speaker 3: Friday night he would play piano. This was like the 208 00:14:12,480 --> 00:14:15,360 Speaker 3: very end of his life. He had lost one eye. 209 00:14:15,600 --> 00:14:20,880 Speaker 3: He was like not well and he just completely knocked 210 00:14:20,920 --> 00:14:24,520 Speaker 3: me out like his piano playing. And I talked to 211 00:14:24,600 --> 00:14:28,120 Speaker 3: him and told him I was a piano player. I 212 00:14:28,240 --> 00:14:31,320 Speaker 3: come down from New York. I wanted to talk to 213 00:14:31,440 --> 00:14:33,360 Speaker 3: meet him and see what he did. And he said, 214 00:14:33,360 --> 00:14:37,560 Speaker 3: all right, just stick with me. So I would go 215 00:14:37,600 --> 00:14:39,360 Speaker 3: and watch him. But that's the only time I ever 216 00:14:39,400 --> 00:14:41,840 Speaker 3: spoke to him. But his I would say hit watching 217 00:14:41,920 --> 00:14:45,320 Speaker 3: him was probably the closest thing to like a mentorship, 218 00:14:45,320 --> 00:14:48,040 Speaker 3: because I really learned a lot from watching him. 219 00:14:49,280 --> 00:14:53,400 Speaker 4: But I think you're a historian of sorts when you 220 00:14:53,440 --> 00:14:58,600 Speaker 4: talk about music and influences, So who were some of 221 00:14:58,640 --> 00:15:02,600 Speaker 4: the other piano players that have had a big impact 222 00:15:02,680 --> 00:15:03,200 Speaker 4: on you? 223 00:15:03,200 --> 00:15:05,480 Speaker 3: You know what's funny is a few years ago when 224 00:15:05,520 --> 00:15:09,120 Speaker 3: I got had the privilege of hanging out with Elton John. 225 00:15:12,200 --> 00:15:17,480 Speaker 3: He was talking about piano stuff and how he liked 226 00:15:17,480 --> 00:15:20,440 Speaker 3: my piano playing, etc. And he said, you know, Adam, 227 00:15:20,520 --> 00:15:28,240 Speaker 3: my heroes were Little Richard, Jerry Lee, Lewis, Fat's Domino. 228 00:15:29,320 --> 00:15:31,800 Speaker 3: And I said, and he said, I learned everything from them, 229 00:15:31,880 --> 00:15:39,200 Speaker 3: and I said me too. Plus you right, So I 230 00:15:39,320 --> 00:15:42,880 Speaker 3: love Fat's Domino, Jerry Lee. I mean, these are the 231 00:15:43,440 --> 00:15:46,400 Speaker 3: great rock and roll piano players. But also I would 232 00:15:46,480 --> 00:15:53,760 Speaker 3: say Professor long Hair James Booker, He's probably the greatest 233 00:15:54,720 --> 00:15:58,040 Speaker 3: of the New Orleans piano players. You know, on paper, 234 00:16:00,240 --> 00:16:04,920 Speaker 3: so many, but I listened to a lot of guitar 235 00:16:05,040 --> 00:16:08,720 Speaker 3: music and try to interpret it on piano, if that 236 00:16:08,760 --> 00:16:11,880 Speaker 3: makes sense. Sure, so I am just as much influenced 237 00:16:11,880 --> 00:16:16,160 Speaker 3: by Keith Richards as a piano player, if that makes sense. Yes, 238 00:16:16,960 --> 00:16:20,640 Speaker 3: because Keith the way that he plays guitar, the way 239 00:16:20,680 --> 00:16:24,920 Speaker 3: that everything has to do with feel and the riff 240 00:16:25,040 --> 00:16:28,360 Speaker 3: and the meat and potatoes of the song, not the 241 00:16:28,400 --> 00:16:34,000 Speaker 3: showiosity of it, like a like a like a Jimmy 242 00:16:34,000 --> 00:16:39,160 Speaker 3: Hendrix type of guitar player. That's been very influential on me. 243 00:16:40,640 --> 00:16:42,440 Speaker 3: So when Elton called. 244 00:16:42,160 --> 00:16:43,920 Speaker 6: You out on. 245 00:16:45,520 --> 00:16:49,520 Speaker 2: Stage at the concert was in Philly, right, it was 246 00:16:50,480 --> 00:16:51,480 Speaker 2: what was your reaction? 247 00:16:51,760 --> 00:16:55,720 Speaker 3: Well, I'm sad to say I wasn't there. I weren't there. 248 00:16:55,840 --> 00:16:58,920 Speaker 3: So what happened was I met him before the show. 249 00:16:59,080 --> 00:17:01,480 Speaker 3: I went back to stay, we hung out for a while. 250 00:17:02,480 --> 00:17:05,000 Speaker 3: I met Bernie Tauphin was there the same night, so 251 00:17:05,040 --> 00:17:08,639 Speaker 3: I got to meet Bernie. And actually, you know, it's 252 00:17:08,680 --> 00:17:12,520 Speaker 3: an interesting story, timely story, because we just lost Robbie Robertson. 253 00:17:13,040 --> 00:17:17,280 Speaker 3: And the conversation was a lot about the band because 254 00:17:18,200 --> 00:17:21,000 Speaker 3: the first show that Elton ever did here in Philly 255 00:17:21,640 --> 00:17:28,359 Speaker 3: was at the Electric Factory, and the same time that 256 00:17:28,440 --> 00:17:31,280 Speaker 3: he was here, the band was playing at the Spectrum. 257 00:17:31,320 --> 00:17:34,919 Speaker 3: I think he was brand new. This must have been 258 00:17:35,000 --> 00:17:40,720 Speaker 3: nineteen seventy, right, And so my friend Larry Maggott, who 259 00:17:40,760 --> 00:17:44,760 Speaker 3: started the Electric Factory, I think it was him who 260 00:17:44,800 --> 00:17:48,840 Speaker 3: brought the band to check out this young kid from 261 00:17:48,840 --> 00:17:52,920 Speaker 3: England named Elton John. And Elton told me this story, 262 00:17:53,000 --> 00:17:56,320 Speaker 3: and he said that he idolized the band. He loved 263 00:17:57,440 --> 00:18:03,680 Speaker 3: their first couple records, and they came and they came 264 00:18:03,760 --> 00:18:06,960 Speaker 3: to talk to him, and he said it was such 265 00:18:06,960 --> 00:18:12,080 Speaker 3: an amazing experience meeting them. That he and Bernie then 266 00:18:12,119 --> 00:18:18,679 Speaker 3: wrote a song Levon after meeting Levon. And then he said, eventually, Elton, 267 00:18:18,840 --> 00:18:22,400 Speaker 3: one of his son's middle name is Levon. That's how 268 00:18:22,480 --> 00:18:26,399 Speaker 3: much the band meant to him. But anyway, he's telling 269 00:18:26,440 --> 00:18:29,600 Speaker 3: me that story backstage in Philly and it's wonderful, and 270 00:18:29,640 --> 00:18:32,400 Speaker 3: he's saying all kinds of encouraging things about low cut 271 00:18:32,440 --> 00:18:35,640 Speaker 3: Connie and everything. He goes to do the show. I'm 272 00:18:35,640 --> 00:18:40,480 Speaker 3: watching the show. I am texting a million people. I 273 00:18:40,560 --> 00:18:44,280 Speaker 3: was just hanging out with Elton, John whatever, and I 274 00:18:44,359 --> 00:18:46,560 Speaker 3: was hungry, and I decided to leave because I had 275 00:18:46,680 --> 00:18:51,120 Speaker 3: just seen Elton's show like a month prior in Vegas, 276 00:18:51,880 --> 00:18:55,680 Speaker 3: and I had a six am flight to LA So 277 00:18:55,760 --> 00:18:58,560 Speaker 3: I left the show halfway through, I'm embarrassed to say. 278 00:18:58,640 --> 00:19:04,560 Speaker 3: And then I'm sitting at the fucking Penrose Diner across 279 00:19:04,600 --> 00:19:09,400 Speaker 3: from the Phillies game. I was eating a grilled chicken 280 00:19:09,520 --> 00:19:12,920 Speaker 3: palm and all of a sudden, my phone is ringing 281 00:19:13,280 --> 00:19:18,399 Speaker 3: crazy and Elton is talking about me on stage and 282 00:19:18,480 --> 00:19:22,080 Speaker 3: dedicating his encore to me, and everybody is texting me, 283 00:19:22,160 --> 00:19:23,560 Speaker 3: are you here? Are you here? Are you here? And 284 00:19:23,600 --> 00:19:30,399 Speaker 3: I wasn't there, So I wasn't there. I'm embarrassed to 285 00:19:30,400 --> 00:19:34,439 Speaker 3: say that moment you would like to get back. Well, 286 00:19:36,200 --> 00:19:40,120 Speaker 3: there's a two percent chance. Two percent is the number 287 00:19:40,240 --> 00:19:45,280 Speaker 3: I think that when he came off stage before the encore, 288 00:19:46,960 --> 00:19:50,800 Speaker 3: he asked, can we get at him out here? And 289 00:19:50,840 --> 00:19:53,840 Speaker 3: when they said we can't find him, he dedicated the 290 00:19:53,880 --> 00:19:57,520 Speaker 3: song instead of you know, there's a two percent chance 291 00:19:57,560 --> 00:20:00,600 Speaker 3: that he would have brought me out on stage for 292 00:20:00,680 --> 00:20:03,360 Speaker 3: that reason. I would like to have a do over 293 00:20:03,800 --> 00:20:06,280 Speaker 3: just to find out. But hey, what are you gonna do? 294 00:20:07,000 --> 00:20:07,959 Speaker 7: That's the way it goes. 295 00:20:08,119 --> 00:20:09,040 Speaker 3: That's the way it goes. 296 00:20:09,080 --> 00:20:10,719 Speaker 7: Well, back to the band for a second. 297 00:20:11,800 --> 00:20:14,119 Speaker 2: One of the things about the band that I think 298 00:20:14,480 --> 00:20:18,360 Speaker 2: was always intriguing was the fact that, especially early on, 299 00:20:18,920 --> 00:20:19,320 Speaker 2: they were. 300 00:20:19,240 --> 00:20:22,720 Speaker 6: Really hard to categorize. You couldn't really put them in 301 00:20:22,760 --> 00:20:24,439 Speaker 6: a particular box. 302 00:20:24,520 --> 00:20:28,800 Speaker 2: We hadn't heard anything really like the band at that point. 303 00:20:29,200 --> 00:20:29,400 Speaker 3: Yeah. 304 00:20:30,080 --> 00:20:34,399 Speaker 2: Is that something when people describe Loka Khannie that you 305 00:20:34,520 --> 00:20:37,840 Speaker 2: sort of like when people go, I don't know really 306 00:20:37,880 --> 00:20:39,760 Speaker 2: how to I know you guys are rock and roll, 307 00:20:39,880 --> 00:20:42,639 Speaker 2: but I'm not sure how to categorize you. 308 00:20:43,920 --> 00:20:47,720 Speaker 3: I've been called so many different things. I always just 309 00:20:47,760 --> 00:20:52,080 Speaker 3: say rock and roll. I think there is a correlation 310 00:20:52,200 --> 00:20:54,119 Speaker 3: with the band because even though you say when they 311 00:20:54,119 --> 00:20:57,680 Speaker 3: first came out, you couldn't categorize them, at the same time, 312 00:20:57,720 --> 00:21:01,600 Speaker 3: their music was very classic and familiar, like when you 313 00:21:01,760 --> 00:21:06,720 Speaker 3: hear The Way or Cripple Creek or their early songs, 314 00:21:07,520 --> 00:21:09,960 Speaker 3: it sounds like it could have been written one hundred 315 00:21:10,000 --> 00:21:13,280 Speaker 3: years ago or one hundred years from now. That classic, 316 00:21:13,440 --> 00:21:18,280 Speaker 3: you know, but at the same time new and a 317 00:21:18,320 --> 00:21:23,160 Speaker 3: flavor that certainly isn't popular at that time. Right. That's 318 00:21:23,200 --> 00:21:25,960 Speaker 3: what I hear about Low Cut Connie all the time, 319 00:21:26,760 --> 00:21:30,840 Speaker 3: is that my songs and the way we present them, 320 00:21:31,240 --> 00:21:36,280 Speaker 3: they seem very familiar, like it's not experimental music, but 321 00:21:36,359 --> 00:21:42,320 Speaker 3: it's also a little bit on character uncategorizable because it 322 00:21:42,400 --> 00:21:47,040 Speaker 3: falls between the cracks. And I know this, I know 323 00:21:47,119 --> 00:21:51,399 Speaker 3: the bad side of this because the industry, the music industry, 324 00:21:52,119 --> 00:21:56,720 Speaker 3: not the music, but the industry is obsessed with categorization 325 00:21:57,200 --> 00:22:03,320 Speaker 3: and genre and algorithm, and so matching to other people's 326 00:22:03,359 --> 00:22:10,720 Speaker 3: sound gets you further in an algorithmic industry than doing 327 00:22:10,800 --> 00:22:16,680 Speaker 3: something unique, Right, because people who listen to Mumford and 328 00:22:16,800 --> 00:22:20,840 Speaker 3: Sons a lot, if you make music that sounds very 329 00:22:20,840 --> 00:22:24,520 Speaker 3: similar to Mumford and Sons. The algorithm will service you 330 00:22:24,720 --> 00:22:29,560 Speaker 3: to those listeners. Right. My music, again, it's not experimental, 331 00:22:31,119 --> 00:22:36,280 Speaker 3: but it does fall between the cracks and people have 332 00:22:36,440 --> 00:22:41,639 Speaker 3: trouble comparing it to something current, and that works against 333 00:22:41,720 --> 00:22:43,399 Speaker 3: me in the industry. That makes sense. 334 00:22:44,400 --> 00:22:48,440 Speaker 2: I'll throw another band at you that defied categorization. 335 00:22:48,840 --> 00:22:51,399 Speaker 6: I wonder how you feel about A Little Feet. 336 00:22:53,960 --> 00:22:57,200 Speaker 3: You're in this kind of area of music that I love, 337 00:22:57,359 --> 00:23:04,040 Speaker 3: like Credence, clear Water, where Little Feat where Again it's 338 00:23:04,160 --> 00:23:11,360 Speaker 3: very familiar and draws on classic American things, but does 339 00:23:11,400 --> 00:23:15,240 Speaker 3: it in a modern way. And that's sort of where 340 00:23:15,280 --> 00:23:20,280 Speaker 3: I live. But those kinds of approaches tend to not 341 00:23:20,440 --> 00:23:26,720 Speaker 3: be commercially successful. Like I've got my audience, but I'm 342 00:23:26,760 --> 00:23:31,880 Speaker 3: not on the pop charts or anything. I can't compete 343 00:23:31,920 --> 00:23:32,199 Speaker 3: with that. 344 00:23:33,240 --> 00:23:34,800 Speaker 7: So how do you feel about all of it? 345 00:23:35,119 --> 00:23:39,880 Speaker 3: I don't care at all. I'm glad that I'm I'm 346 00:23:39,880 --> 00:23:46,160 Speaker 3: not in that. What a what a terrible pressure and 347 00:23:46,400 --> 00:23:51,520 Speaker 3: lifestyle it is to be in pop music? Oh my god. 348 00:23:52,000 --> 00:23:54,040 Speaker 3: I mean I have friends that are in that world, 349 00:23:54,440 --> 00:23:56,520 Speaker 3: and I've sort of flirted with it here and there, 350 00:23:57,280 --> 00:24:02,199 Speaker 3: and it is just a very unf giving industry to 351 00:24:02,240 --> 00:24:08,119 Speaker 3: be in I have for me. There are artists like 352 00:24:08,200 --> 00:24:13,720 Speaker 3: Lou Reed, Tom Waite's, Patty Smith. You know, people that 353 00:24:13,800 --> 00:24:18,240 Speaker 3: I really really admire what they did in their music, 354 00:24:19,200 --> 00:24:23,280 Speaker 3: and they did it for decades and decades and decades. 355 00:24:23,359 --> 00:24:28,000 Speaker 3: That's where I live, you know, cult artists basically carving 356 00:24:28,080 --> 00:24:28,720 Speaker 3: your own path. 357 00:24:29,000 --> 00:24:34,480 Speaker 2: Yeah, and you've had these moments of or even like 358 00:24:34,760 --> 00:24:38,280 Speaker 2: when you talk about Prince or James Brown, people who 359 00:24:38,359 --> 00:24:49,600 Speaker 2: are iconic and were commercially, massively successful popular artists, but they. 360 00:24:49,440 --> 00:24:52,840 Speaker 3: Were also cult artists at the same time because most 361 00:24:53,040 --> 00:24:57,240 Speaker 3: of their music that they put at out was not 362 00:24:58,160 --> 00:25:04,760 Speaker 3: for pop audiences and was you know, focused on the music, 363 00:25:04,840 --> 00:25:10,399 Speaker 3: the art, and the audience. It really wasn't geared towards 364 00:25:10,400 --> 00:25:11,760 Speaker 3: the industry, if you know what I mean. 365 00:25:13,240 --> 00:25:17,240 Speaker 2: But you've had these moments, you sertindeputus moments that have 366 00:25:17,320 --> 00:25:20,800 Speaker 2: occurred in your career to date. 367 00:25:21,359 --> 00:25:23,240 Speaker 6: The Elton one you just talked about. 368 00:25:24,080 --> 00:25:29,040 Speaker 2: There's this little event that happened with Barack Obama. 369 00:25:29,440 --> 00:25:33,000 Speaker 6: Yeah, tell me about how you discovered that that had happened. 370 00:25:33,320 --> 00:25:36,679 Speaker 3: Just like everybody else, I woke up. I had actually 371 00:25:36,720 --> 00:25:38,280 Speaker 3: just moved to Philly and I was sleeping on an 372 00:25:38,320 --> 00:25:41,880 Speaker 3: air mattress in our house. We didn't have furniture yet, 373 00:25:41,960 --> 00:25:44,840 Speaker 3: and we didn't have air conditioning. It was like ten 374 00:25:44,920 --> 00:25:48,199 Speaker 3: thousand degrees because it was August. And I woke up 375 00:25:48,240 --> 00:25:50,959 Speaker 3: and my phone had a million messages and they all 376 00:25:50,960 --> 00:25:54,520 Speaker 3: said potus playlist And I didn't know what that was. 377 00:25:54,920 --> 00:25:57,080 Speaker 3: I didn't have my contact lenses in and I just 378 00:25:57,160 --> 00:26:00,639 Speaker 3: ignored it and went through my day. And then a 379 00:26:00,640 --> 00:26:04,760 Speaker 3: little while later I investigated it, and I realized something, 380 00:26:05,720 --> 00:26:10,560 Speaker 3: something crazy had happened. And then when I saw the 381 00:26:10,760 --> 00:26:17,000 Speaker 3: Obama there's a photograph that Pete Souza took of Obama's 382 00:26:17,080 --> 00:26:20,640 Speaker 3: hand writing the list. He's looking at his iPad through 383 00:26:20,680 --> 00:26:24,720 Speaker 3: his iTunes and he's choosing the songs and writing them 384 00:26:24,720 --> 00:26:27,680 Speaker 3: in under his hand. You can see oh cut, Connie 385 00:26:28,480 --> 00:26:33,480 Speaker 3: Boozophelia Dian and I really, you know. Then I knew 386 00:26:33,560 --> 00:26:35,000 Speaker 3: something crazy had just happened. 387 00:26:36,160 --> 00:26:37,520 Speaker 7: And you get to go to the White House. 388 00:26:37,640 --> 00:26:39,320 Speaker 3: I did twenty sixteen. 389 00:26:41,200 --> 00:26:52,639 Speaker 10: I did, and he he came out, Adam great to 390 00:26:52,680 --> 00:26:52,960 Speaker 10: meet you. 391 00:26:53,359 --> 00:26:55,520 Speaker 3: Did you get a tour? Did they give you some food? 392 00:26:57,320 --> 00:27:00,639 Speaker 3: My god? I was like, and I don't typically get struck, 393 00:27:00,960 --> 00:27:09,840 Speaker 3: but I was a little bit stammering I was mister president, 394 00:27:10,160 --> 00:27:13,160 Speaker 3: thank you, thank you so much, you know, and he said, hey, 395 00:27:13,400 --> 00:27:17,680 Speaker 3: when's your new album coming out. I said, I'm working 396 00:27:17,680 --> 00:27:19,600 Speaker 3: on it right now. He said, okay, well you gotta 397 00:27:19,680 --> 00:27:22,399 Speaker 3: let me know. I like what you're doing. I like 398 00:27:22,440 --> 00:27:28,120 Speaker 3: your style. Keep it up. Yeah, it was cool, It's awesome. 399 00:27:29,720 --> 00:27:32,520 Speaker 2: And then let's just get to the other moment too, 400 00:27:32,800 --> 00:27:36,000 Speaker 2: which was, let's call it the Springsteen moment. 401 00:27:36,800 --> 00:27:38,800 Speaker 3: Oh man, we lot listen. I grew up in New 402 00:27:38,880 --> 00:27:46,800 Speaker 3: Jersey in the eighties, so do the math right. Getting 403 00:27:47,359 --> 00:27:51,320 Speaker 3: blessed by Bruce is like it's like the Pope drove 404 00:27:51,359 --> 00:27:55,520 Speaker 3: by and blessed you. You know. I went to see 405 00:27:55,560 --> 00:27:59,800 Speaker 3: the Broadway show I think it was twenty eighteen, and 406 00:28:00,080 --> 00:28:02,439 Speaker 3: first did it and I sat down in my seat. 407 00:28:02,520 --> 00:28:06,280 Speaker 3: I got a ticket like everybody else, and this guy 408 00:28:06,359 --> 00:28:08,280 Speaker 3: came out said are you at him? I said yeah. 409 00:28:08,280 --> 00:28:10,280 Speaker 3: He said low cut Connie right. I said yeah. He 410 00:28:10,320 --> 00:28:15,320 Speaker 3: said hold on, And this other woman from Bruce's management 411 00:28:15,320 --> 00:28:17,159 Speaker 3: team comes out and she said, you know, he liked 412 00:28:17,160 --> 00:28:20,280 Speaker 3: to meet you after the show. And this is like 413 00:28:20,440 --> 00:28:26,800 Speaker 3: thirty seconds before the curtain and I was like, oh, okay, 414 00:28:26,840 --> 00:28:31,359 Speaker 3: shit really and she said, yeah, go to this door, right, 415 00:28:31,520 --> 00:28:36,400 Speaker 3: when the lights come up, go to that door. So 416 00:28:36,480 --> 00:28:40,080 Speaker 3: we went in and Max Weinberg happened to be there 417 00:28:40,120 --> 00:28:43,960 Speaker 3: the same night, so I meet Max Weinberg. We were 418 00:28:44,000 --> 00:28:48,800 Speaker 3: in the Bruce's like little waiting area outside his dressing room, 419 00:28:49,280 --> 00:28:51,120 Speaker 3: and I had to take a piss so bad. I 420 00:28:51,160 --> 00:28:53,640 Speaker 3: hadn't peed in like two hours, and I'm like, but if. 421 00:28:53,560 --> 00:28:56,560 Speaker 10: I pee right now, I might miss him whatever. 422 00:28:57,320 --> 00:28:59,520 Speaker 3: So I was like, fuck it, I'm just gonna go 423 00:28:59,560 --> 00:29:01,680 Speaker 3: in his after a minute. So I go and come 424 00:29:01,720 --> 00:29:03,640 Speaker 3: out and as him coming out. He's coming in the. 425 00:29:03,680 --> 00:29:10,680 Speaker 10: Room and he hugs Max, and then I go. 426 00:29:10,840 --> 00:29:13,320 Speaker 3: I put my hand out and I was like, hey, Bruce, 427 00:29:14,120 --> 00:29:16,320 Speaker 3: I'm Adam the band Lowcu And he said, I know, 428 00:29:16,880 --> 00:29:18,920 Speaker 3: I know Kmire. He gives me a big hug and 429 00:29:18,960 --> 00:29:23,160 Speaker 3: a kiss. He's like, you guys are fabulous. You're from 430 00:29:23,200 --> 00:29:25,920 Speaker 3: Billy right and I said yeah, yeah. He said, you 431 00:29:25,960 --> 00:29:28,080 Speaker 3: guys are everywhere. I got to come see you guys. 432 00:29:28,080 --> 00:29:30,520 Speaker 3: I hear your live show is incredible. I said, wow, 433 00:29:31,040 --> 00:29:34,520 Speaker 3: I learned it from watching you, you know, so it 434 00:29:34,640 --> 00:29:37,320 Speaker 3: was amazing. Met Patty hung out for a while. He 435 00:29:37,400 --> 00:29:42,320 Speaker 3: was extremely encouraging extreme because the thing with Bruce Springsteen 436 00:29:42,400 --> 00:29:46,640 Speaker 3: is like the records. He's got a lot of classic records, 437 00:29:47,360 --> 00:29:49,520 Speaker 3: but it's his live show. It's him as a live 438 00:29:49,560 --> 00:29:54,240 Speaker 3: performer that I think is his true gift and his 439 00:29:54,920 --> 00:29:58,600 Speaker 3: legacy really, and that is kind of like me as well. 440 00:29:58,720 --> 00:30:04,200 Speaker 3: I have developed over the years, tried to turn myself 441 00:30:04,240 --> 00:30:08,880 Speaker 3: into this performer that people remember, you know, and give 442 00:30:08,960 --> 00:30:12,480 Speaker 3: something to people live that they take home with them 443 00:30:12,520 --> 00:30:14,520 Speaker 3: and talk about and wanted to see again. 444 00:30:14,640 --> 00:30:18,600 Speaker 7: You know, what's the first Bruce show that you saw? 445 00:30:19,440 --> 00:30:23,920 Speaker 3: Nineteen ninety nine or ninety the first reunion of the 446 00:30:24,840 --> 00:30:27,120 Speaker 3: Somebody smarter than me can look up the date of 447 00:30:27,200 --> 00:30:30,280 Speaker 3: when the EA Street Band first got back together. It 448 00:30:30,320 --> 00:30:33,800 Speaker 3: was ninety eight or ninety nine, right, and I was eighteen. 449 00:30:35,120 --> 00:30:37,200 Speaker 3: That's when I first started going to concerts. 450 00:30:37,240 --> 00:30:38,480 Speaker 7: So was it New York? 451 00:30:39,320 --> 00:30:43,400 Speaker 3: I saw him in New Jersey in the Meadowlands, I 452 00:30:43,400 --> 00:30:52,400 Speaker 3: think it was, and that was earth shattering. Not that 453 00:30:52,520 --> 00:30:56,680 Speaker 3: long after that, I saw Iggy Pop reunited with the Stooges, 454 00:30:56,920 --> 00:31:01,320 Speaker 3: and that was earth shattering. James Brown right here at 455 00:31:01,360 --> 00:31:07,920 Speaker 3: Philey on the waterfront, that was earth shattering. I remember 456 00:31:08,000 --> 00:31:11,360 Speaker 3: James Brown did a song about the Columbine shooting had 457 00:31:11,400 --> 00:31:15,440 Speaker 3: just happened. He had a song Killing is Out School 458 00:31:15,520 --> 00:31:18,240 Speaker 3: is in coming back to mall and try it again. Killing. 459 00:31:18,600 --> 00:31:25,760 Speaker 3: He was writing about gun violence, and as an older 460 00:31:26,680 --> 00:31:30,160 Speaker 3: legacy artist, he was something else, you know. He was 461 00:31:30,200 --> 00:31:31,840 Speaker 3: the real thing. James Brown. 462 00:31:33,640 --> 00:31:38,160 Speaker 2: Who first inspired you musically as far as having a 463 00:31:38,200 --> 00:31:41,560 Speaker 2: social conscience about what you write about. 464 00:31:41,760 --> 00:31:44,880 Speaker 3: I guess I guess I would say Bob Dylan because 465 00:31:45,000 --> 00:31:50,840 Speaker 3: I remember I grew up on pop music like everybody 466 00:31:50,920 --> 00:31:54,840 Speaker 3: else Madonna, you know, and I loved pop music in 467 00:31:54,840 --> 00:31:58,520 Speaker 3: the eighties. But I remember being about fifteen years old 468 00:31:58,600 --> 00:32:03,960 Speaker 3: and hearing a cassette tape and it was probably Bob 469 00:32:04,080 --> 00:32:10,000 Speaker 3: Dylan Greatest Hits, Volume one, and it completely stopped me 470 00:32:10,000 --> 00:32:17,880 Speaker 3: in my tracks because it expanded my thinking about what 471 00:32:17,920 --> 00:32:22,840 Speaker 3: a song could do. He has that song, The Lonesome 472 00:32:22,880 --> 00:32:31,240 Speaker 3: Death of Hattie Carroll that is not only socially conscious 473 00:32:33,080 --> 00:32:41,080 Speaker 3: politically potent, but it's an incredible character study. It's so evocative. 474 00:32:41,160 --> 00:32:45,640 Speaker 3: You can picture what's happening, who this person is, what 475 00:32:45,680 --> 00:32:49,320 Speaker 3: the feeling in the room is, and it's like a 476 00:32:49,360 --> 00:32:53,000 Speaker 3: mini movie. And that's one of those moments. And I've 477 00:32:53,000 --> 00:32:56,280 Speaker 3: had a few in my life where I heard music 478 00:32:56,520 --> 00:32:58,640 Speaker 3: that made all other music sound dumb. 479 00:33:01,000 --> 00:33:02,480 Speaker 7: Yeah, what a way to put it. 480 00:33:02,480 --> 00:33:05,400 Speaker 3: It was hard after that, it was hard to go 481 00:33:05,600 --> 00:33:12,840 Speaker 3: back to listening to I don't know, the Backstreet Boys 482 00:33:12,880 --> 00:33:15,200 Speaker 3: or whatever was on the radio at that time. I 483 00:33:15,280 --> 00:33:18,640 Speaker 3: remember hearing The Velvet Underground for the first time when 484 00:33:18,680 --> 00:33:25,800 Speaker 3: I was about twenty and hearing that first Velvet Underground 485 00:33:25,840 --> 00:33:30,440 Speaker 3: album and then absolutely devouring all of their four albums 486 00:33:30,440 --> 00:33:36,000 Speaker 3: and then devouring all of Lou Reed's solo It made 487 00:33:36,200 --> 00:33:40,760 Speaker 3: a lot of other music sound very trite, very trite, 488 00:33:41,200 --> 00:33:44,560 Speaker 3: you know, and I was like, well, I guess I'm 489 00:33:44,560 --> 00:33:47,600 Speaker 3: gonna throw a lot of my records away start over. 490 00:33:50,280 --> 00:33:56,480 Speaker 3: But yeah, there's certain people that can cut through with 491 00:33:56,640 --> 00:34:01,920 Speaker 3: a song and make you really feel something and maybe 492 00:34:02,080 --> 00:34:08,480 Speaker 3: understand something. And the most powerful is when a song, 493 00:34:09,480 --> 00:34:13,800 Speaker 3: like you're talking about socially conscious songs, instead of teaching 494 00:34:13,840 --> 00:34:18,640 Speaker 3: you something, it's just showing you something you already knew instinctually. 495 00:34:19,280 --> 00:34:23,520 Speaker 3: That is when something I think really is nailing it 496 00:34:23,640 --> 00:34:24,200 Speaker 3: in a song. 497 00:34:25,120 --> 00:34:28,960 Speaker 2: Do you prefer the subtle approach or the hit you 498 00:34:29,000 --> 00:34:31,160 Speaker 2: over the head with a two by four approach? 499 00:34:31,960 --> 00:34:35,280 Speaker 3: I don't know. You could go both ways, but everything 500 00:34:35,320 --> 00:34:37,640 Speaker 3: has to come from the music first. See I'm a 501 00:34:37,719 --> 00:34:46,520 Speaker 3: musician first. And the lyric side. I've learned. I've gotten better, 502 00:34:47,800 --> 00:34:50,600 Speaker 3: but I wake up every day with music in my 503 00:34:50,680 --> 00:34:56,520 Speaker 3: head more than words, if that makes sense. And I 504 00:34:56,560 --> 00:34:59,400 Speaker 3: think that if the music isn't strong, then the song's 505 00:34:59,440 --> 00:35:05,560 Speaker 3: not going to be good. So from a lyrical perspective, 506 00:35:05,760 --> 00:35:07,680 Speaker 3: it kind of doesn't. You could be subtle, you could 507 00:35:07,719 --> 00:35:12,280 Speaker 3: be aggressive, but it has to really match the music. 508 00:35:13,560 --> 00:35:17,200 Speaker 3: That's what songs are there for, you know, whether it's 509 00:35:17,200 --> 00:35:20,080 Speaker 3: the melody or the rhythm, it's got to be something 510 00:35:20,120 --> 00:35:25,839 Speaker 3: that you can feel instantly, because otherwise you have a poem, 511 00:35:26,160 --> 00:35:29,000 Speaker 3: you know, which is something else. 512 00:35:30,520 --> 00:35:34,320 Speaker 5: Let's saunter a little bit more and take us through 513 00:35:35,200 --> 00:35:42,759 Speaker 5: the evolution of Lowka Connie, because it's really kind of 514 00:35:42,760 --> 00:35:46,759 Speaker 5: going through the personnel side of evolving. 515 00:35:47,160 --> 00:35:49,680 Speaker 3: What are you talking about? I've only had thirteen drummers. 516 00:35:50,480 --> 00:35:54,280 Speaker 7: Isn't it spinal tapis Did they explode? 517 00:35:55,239 --> 00:35:59,520 Speaker 3: I don't know a few of them? Possibly, I don't know. No, 518 00:35:59,640 --> 00:36:02,840 Speaker 3: I mean yeah, we've had twenty five plus people in 519 00:36:02,920 --> 00:36:12,960 Speaker 3: the band and I'm the only consistent through line. Although 520 00:36:13,320 --> 00:36:16,800 Speaker 3: I gotta give props to Will Donnelly, my guitar player 521 00:36:16,840 --> 00:36:20,719 Speaker 3: who's been with me for ten years. This fall he's 522 00:36:20,760 --> 00:36:27,160 Speaker 3: been with me since the third album. I don't know 523 00:36:27,640 --> 00:36:31,480 Speaker 3: buzz like things. I just think that you got to 524 00:36:31,520 --> 00:36:35,279 Speaker 3: grow and change all the time. I don't like when 525 00:36:35,320 --> 00:36:38,399 Speaker 3: I hear a musician put music out that's the same 526 00:36:38,440 --> 00:36:40,239 Speaker 3: thing as they did before. I want to hear a 527 00:36:40,320 --> 00:36:43,000 Speaker 3: new thing and it might not be their best. But 528 00:36:43,080 --> 00:36:50,840 Speaker 3: I like artists at try. You know, Prince was somebody 529 00:36:50,840 --> 00:36:54,920 Speaker 3: that always always changing. David Bowie was always changing, Madonna 530 00:36:55,000 --> 00:37:00,640 Speaker 3: always changing. Neil Young, you know, he's always doing things 531 00:37:01,000 --> 00:37:03,319 Speaker 3: and every other thing is good and every other thing 532 00:37:03,360 --> 00:37:07,759 Speaker 3: is terrible, but he's always trying something, you know. I 533 00:37:07,920 --> 00:37:14,799 Speaker 3: like that. So I guess I have a restless thing 534 00:37:15,120 --> 00:37:20,160 Speaker 3: with my performance and my music, and so it is 535 00:37:20,200 --> 00:37:24,200 Speaker 3: always changing and evolving, and I think that's fine and 536 00:37:24,320 --> 00:37:26,440 Speaker 3: the fans, most of the fans are stuck with me. 537 00:37:27,160 --> 00:37:33,719 Speaker 2: So but it also stems from you tour an awful lot, yeah, 538 00:37:33,800 --> 00:37:38,480 Speaker 2: oh yeah, and you always have these performances that are 539 00:37:38,960 --> 00:37:41,560 Speaker 2: memorable and that people want to come back from more on, 540 00:37:42,800 --> 00:37:43,240 Speaker 2: I hope. 541 00:37:43,280 --> 00:37:51,000 Speaker 3: So initially we were a recording band that couldn't tour 542 00:37:52,200 --> 00:37:57,719 Speaker 3: because we had the one guy in England and then 543 00:37:57,760 --> 00:38:02,440 Speaker 3: the two guys in Florida and we would get together 544 00:38:03,320 --> 00:38:09,240 Speaker 3: a few times a year, and the record, the record 545 00:38:09,360 --> 00:38:14,600 Speaker 3: was being reviewed and Rolling Stone and NPR and USA 546 00:38:14,719 --> 00:38:18,839 Speaker 3: Today and Guitar World and New York Times. But we'd 547 00:38:18,880 --> 00:38:23,480 Speaker 3: only played five shows, you know, a year in the beginning. 548 00:38:25,719 --> 00:38:31,640 Speaker 3: Then the whole script flipped and we became a live 549 00:38:31,719 --> 00:38:36,719 Speaker 3: band and built this whole other reputation in the sort 550 00:38:36,760 --> 00:38:44,560 Speaker 3: of the second chapter. And that's why I really relate 551 00:38:44,680 --> 00:38:50,759 Speaker 3: to people like Springsteen, because initially it was this Columbia 552 00:38:50,840 --> 00:38:54,000 Speaker 3: Records singer songwriter identity that he had, but then it 553 00:38:54,120 --> 00:38:59,640 Speaker 3: was this powerful rock and roll show that he toured 554 00:38:59,680 --> 00:39:01,840 Speaker 3: the county with over and over and over and over again, 555 00:39:01,880 --> 00:39:03,200 Speaker 3: which I can really relate to that. 556 00:39:06,239 --> 00:39:09,520 Speaker 7: How difficult was it these COVID years. 557 00:39:09,560 --> 00:39:14,040 Speaker 6: I know you recorded the Quarantine sessions there. 558 00:39:14,640 --> 00:39:18,719 Speaker 3: I thought the COVID years were fantastic. I am no. 559 00:39:18,840 --> 00:39:24,160 Speaker 3: I mean, it was a horrible time, but creatively it 560 00:39:24,200 --> 00:39:29,160 Speaker 3: was fantastic because Will and I did one hundred plus 561 00:39:30,120 --> 00:39:35,719 Speaker 3: livestream shows with this thing called Tough Cookies, and I 562 00:39:35,800 --> 00:39:37,880 Speaker 3: became a TV host for a year and a half 563 00:39:38,800 --> 00:39:44,400 Speaker 3: and I absolutely fucking loved it. So I actually really 564 00:39:44,480 --> 00:39:50,920 Speaker 3: cherished that time because I really I felt like what 565 00:39:50,960 --> 00:39:53,960 Speaker 3: we were doing was really reaching people and was meaningful 566 00:39:53,960 --> 00:39:59,440 Speaker 3: to people. And when you're a musician or an artist, 567 00:39:59,480 --> 00:40:03,480 Speaker 3: you never know if it means anything to anybody. That 568 00:40:03,640 --> 00:40:06,120 Speaker 3: was a time I knew it meant something to people 569 00:40:06,600 --> 00:40:10,040 Speaker 3: when I saw nurses showing it in the hospitals and 570 00:40:10,120 --> 00:40:14,800 Speaker 3: the ICUs our show, when I saw very ill people 571 00:40:14,920 --> 00:40:18,680 Speaker 3: sending us messages you know, thank you, You're keeping me going, 572 00:40:19,080 --> 00:40:24,080 Speaker 3: You're keeping my spirits up. It was fantastic and I 573 00:40:24,200 --> 00:40:28,160 Speaker 3: decided to just keep doing it until we could tour again, 574 00:40:28,440 --> 00:40:29,600 Speaker 3: which took a year and a half. 575 00:40:29,800 --> 00:40:36,840 Speaker 11: So and you like interviewing, I do, yeah, which is 576 00:40:36,920 --> 00:40:40,560 Speaker 11: another thing I started doing during the pandemic. 577 00:40:40,120 --> 00:40:48,640 Speaker 3: I'd never done before. Yeah. I got to interview oh Man, Dion, 578 00:40:49,239 --> 00:40:53,200 Speaker 3: Frankie Valley, I got one of the last interviews with 579 00:40:53,239 --> 00:40:57,239 Speaker 3: Mike Nesmith from the Monkeys. I interviewed most of the 580 00:40:57,280 --> 00:41:01,680 Speaker 3: members of Sli in a Family Stone, Larry Graham, Nancy 581 00:41:01,719 --> 00:41:05,279 Speaker 3: Wilson from Heart, on and on and on. It was 582 00:41:05,520 --> 00:41:07,080 Speaker 3: absolutely fantastic. 583 00:41:08,600 --> 00:41:13,120 Speaker 2: I would imagine as somebody who enjoys being a student 584 00:41:13,200 --> 00:41:15,319 Speaker 2: of things and always trying to. 585 00:41:15,480 --> 00:41:18,520 Speaker 7: Improve upon it, that just. 586 00:41:18,640 --> 00:41:22,080 Speaker 6: Like your music, with your interviewing. 587 00:41:23,040 --> 00:41:26,839 Speaker 2: Approach, you've always kind of gone back and said, well, 588 00:41:26,840 --> 00:41:28,840 Speaker 2: maybe next time, let me tackle it this way or 589 00:41:28,840 --> 00:41:29,160 Speaker 2: this way. 590 00:41:29,160 --> 00:41:34,800 Speaker 3: Oh yeah, you learn, You learn for sure, And I'd 591 00:41:34,880 --> 00:41:37,239 Speaker 3: like a redo on a few of those interviews. But 592 00:41:39,640 --> 00:41:40,080 Speaker 3: you learn. 593 00:41:41,719 --> 00:41:41,959 Speaker 7: Yeah. 594 00:41:42,040 --> 00:41:48,799 Speaker 3: I mean, like, that's the thing about any kind of performance. 595 00:41:50,440 --> 00:41:53,279 Speaker 3: You can't You have to learn by doing, which means 596 00:41:53,320 --> 00:41:55,319 Speaker 3: you have to bomb before you can hit. 597 00:41:55,600 --> 00:42:01,920 Speaker 2: You know, what would you know somebody now who's a 598 00:42:02,040 --> 00:42:05,239 Speaker 2: musician on the way up, we're trying to be on 599 00:42:05,320 --> 00:42:05,839 Speaker 2: the way up. 600 00:42:06,160 --> 00:42:08,560 Speaker 7: Yeah, what advice would you give them? 601 00:42:09,400 --> 00:42:12,279 Speaker 3: You know, it's it sounds harsh, but it's what I 602 00:42:12,400 --> 00:42:14,879 Speaker 3: was told when I first started. If you can do 603 00:42:14,920 --> 00:42:20,640 Speaker 3: anything else, do it. Meaning it's the people that have 604 00:42:20,760 --> 00:42:30,239 Speaker 3: such a drive and passion for the art life that 605 00:42:30,320 --> 00:42:37,840 Speaker 3: they will put themselves in a lifestyle that will be very, 606 00:42:38,080 --> 00:42:46,719 Speaker 3: very difficult, be very challenging. Most people can't hack that. 607 00:42:48,080 --> 00:42:50,840 Speaker 3: So you got to really want it bad and be 608 00:42:50,920 --> 00:42:59,600 Speaker 3: willing to look in the mirror in order to get 609 00:42:59,600 --> 00:43:01,960 Speaker 3: better at what you do, which is what the real 610 00:43:02,520 --> 00:43:07,000 Speaker 3: task is the hardest part. I don't care if you're 611 00:43:07,040 --> 00:43:11,080 Speaker 3: a dancer, an actor, a writer, a painter, a singer, 612 00:43:11,320 --> 00:43:17,520 Speaker 3: whatever you are. The hardest part that people don't want 613 00:43:17,560 --> 00:43:20,800 Speaker 3: to say, is you've got to look in the mirror 614 00:43:22,640 --> 00:43:25,720 Speaker 3: and self correct. You've got to admit when that song 615 00:43:25,840 --> 00:43:28,640 Speaker 3: is just not good enough, when the show is just 616 00:43:28,680 --> 00:43:32,399 Speaker 3: not good enough, when you're singing, isn't that good? I've 617 00:43:32,400 --> 00:43:37,879 Speaker 3: got to make get better when every aspect of it. 618 00:43:38,600 --> 00:43:45,359 Speaker 3: You've got to be truthful about. If you have the 619 00:43:45,400 --> 00:43:49,520 Speaker 3: belief that you're as good as you're ever going to be, 620 00:43:49,880 --> 00:43:53,120 Speaker 3: you should probably quit. That's what I would. That's my 621 00:43:53,239 --> 00:43:57,759 Speaker 3: Philadelphia attitude. By the way, somebody else would give you 622 00:43:57,840 --> 00:44:00,840 Speaker 3: different advice, that would be a little more hippie dippy. 623 00:44:01,440 --> 00:44:06,480 Speaker 3: That's not me. I came up the hard way, and 624 00:44:06,560 --> 00:44:11,440 Speaker 3: I think it's fair to tell young performers, writers, musicians 625 00:44:13,640 --> 00:44:18,640 Speaker 3: go out there and do it, and do it over 626 00:44:18,719 --> 00:44:24,520 Speaker 3: and over again and fail at it and then correct right. 627 00:44:25,080 --> 00:44:28,520 Speaker 3: Steve Martin has a book called Born's Standing Up that's 628 00:44:28,560 --> 00:44:33,040 Speaker 3: all about his stand up comedy career before he it 629 00:44:33,080 --> 00:44:38,160 Speaker 3: was a movie star. And read that book. It's one 630 00:44:38,160 --> 00:44:43,120 Speaker 3: of my favorite books about becoming a performer. How many 631 00:44:43,280 --> 00:44:46,280 Speaker 3: times and in how many different ways did he bomb? 632 00:44:47,520 --> 00:44:51,759 Speaker 3: And for how long he tried to do magic? He 633 00:44:51,920 --> 00:44:54,360 Speaker 3: tried to be a folk singer He tried to be 634 00:44:54,400 --> 00:44:57,040 Speaker 3: an impressionist, he tried to be an actor, he tried 635 00:44:57,040 --> 00:44:59,640 Speaker 3: to be a writer. He tried to do it all, 636 00:45:01,280 --> 00:45:06,200 Speaker 3: and he did not succeed until he realized what his 637 00:45:06,360 --> 00:45:13,040 Speaker 3: actual performance should be, which was to combine all of them, right. 638 00:45:13,200 --> 00:45:16,799 Speaker 6: Yea, And the guy's a master now of everything. 639 00:45:17,480 --> 00:45:23,239 Speaker 3: He became a master. He became a master. He wasn't 640 00:45:23,280 --> 00:45:27,160 Speaker 3: a born genius. He became a master of his craft 641 00:45:27,719 --> 00:45:31,960 Speaker 3: through a lot of work and a lot of failure. 642 00:45:33,560 --> 00:45:38,080 Speaker 3: And it's so valuable to go out on stage and 643 00:45:38,160 --> 00:45:42,080 Speaker 3: feel confident because you know exactly what you're doing, and 644 00:45:42,080 --> 00:45:43,400 Speaker 3: that that takes a long time. 645 00:45:47,440 --> 00:45:49,560 Speaker 7: So what do you got planned for the rest of 646 00:45:49,600 --> 00:45:50,160 Speaker 7: the year. 647 00:45:50,320 --> 00:45:52,640 Speaker 3: Man, I got a new album coming out in three weeks, 648 00:45:52,760 --> 00:46:00,120 Speaker 3: Art Dealers, September eighth, We're doing a long tour or 649 00:46:00,160 --> 00:46:06,080 Speaker 3: September October Eastern US tour. And then I have a 650 00:46:06,120 --> 00:46:09,920 Speaker 3: film coming out. I made a movie, also called Art Dealers. 651 00:46:10,880 --> 00:46:13,840 Speaker 3: The film is going to be showing at the Richmond 652 00:46:13,880 --> 00:46:18,080 Speaker 3: International Film Festival and the Sound Unseen Film Festival. We're 653 00:46:18,120 --> 00:46:22,640 Speaker 3: going to start doing screenings of it for the public 654 00:46:22,920 --> 00:46:26,319 Speaker 3: this winter, and then we'll see what happens with it 655 00:46:27,480 --> 00:46:30,920 Speaker 3: and then I'm very excited to say I've got a 656 00:46:31,040 --> 00:46:34,880 Speaker 3: radio show that I'm gonna be doing next year. I'm busy. 657 00:46:34,960 --> 00:46:35,920 Speaker 3: I don't know what to tell you. 658 00:46:37,080 --> 00:46:38,680 Speaker 7: What's the radio show giving me at. 659 00:46:38,560 --> 00:46:44,880 Speaker 3: The Countie Club. I did it in twenty nineteen. I 660 00:46:44,920 --> 00:46:49,640 Speaker 3: did a little quick pilot month that got completely derailed 661 00:46:49,640 --> 00:46:54,160 Speaker 3: by COVID, and now it's coming back. It's going to 662 00:46:54,239 --> 00:46:59,040 Speaker 3: be on radio station here in Philadelphia called WXPN, and 663 00:46:59,080 --> 00:47:01,719 Speaker 3: I'm gonna be live streaming and doing all these fantastic 664 00:47:01,800 --> 00:47:08,080 Speaker 3: tapings with live guests. It's a variety show, but the 665 00:47:08,120 --> 00:47:13,160 Speaker 3: whole point of it is that you're getting a live 666 00:47:15,080 --> 00:47:19,840 Speaker 3: audio broadcasts from this fictional dive bar called the County Club, 667 00:47:20,520 --> 00:47:22,840 Speaker 3: where all kinds of crazy people hang out and fucked 668 00:47:22,920 --> 00:47:26,040 Speaker 3: up things happen, and it's a crazy Saturday night at 669 00:47:26,080 --> 00:47:28,719 Speaker 3: the County Club. That's great. 670 00:47:29,840 --> 00:47:37,000 Speaker 2: WXBN legendary radio station for sure, And I know radio. 671 00:47:36,719 --> 00:47:40,840 Speaker 7: Has some significance to you. Certainly. 672 00:47:41,719 --> 00:47:45,000 Speaker 2: We talked offline about this a little bit, but even 673 00:47:45,040 --> 00:47:50,279 Speaker 2: on your Jerry Glavett to tribute if you will. 674 00:47:50,640 --> 00:47:52,600 Speaker 3: Yeah, well you lived in Philly long enough to know 675 00:47:52,880 --> 00:47:55,719 Speaker 3: who Jerry is. Sure some of your listeners probably don't know. 676 00:47:56,360 --> 00:48:00,719 Speaker 7: I think so. I think the East Coast travels. 677 00:48:00,960 --> 00:48:03,200 Speaker 3: Yeah. You know, well, if you're listening to this and 678 00:48:03,239 --> 00:48:06,480 Speaker 3: you don't know who Jerry Blavitt aka the Geater with 679 00:48:06,560 --> 00:48:10,560 Speaker 3: the Heater was, look it up. He was the ultimate 680 00:48:10,840 --> 00:48:17,000 Speaker 3: ultimate DJ, the ultimate exciter in the room. And I 681 00:48:17,000 --> 00:48:20,240 Speaker 3: don't think it's wrong to say he was an absolute 682 00:48:20,520 --> 00:48:26,520 Speaker 3: icon in Philadelphia, like one of the most famous people 683 00:48:26,560 --> 00:48:29,080 Speaker 3: in the city, if you know what I mean, everybody knew. 684 00:48:28,960 --> 00:48:31,040 Speaker 7: Him, I would say, so. 685 00:48:31,120 --> 00:48:32,080 Speaker 3: All through his radio. 686 00:48:32,320 --> 00:48:35,680 Speaker 2: Yeah, but I think he had the East Coast words. 687 00:48:35,880 --> 00:48:39,080 Speaker 2: I remember first before I was doing work down in 688 00:48:39,120 --> 00:48:44,440 Speaker 2: Philadelphia another person who I think you and your performances 689 00:48:44,920 --> 00:48:50,640 Speaker 2: remind me of his Pete Wolf, the Wolf of Goofah. 690 00:48:50,680 --> 00:48:54,160 Speaker 2: He I remember him talking about that the Heater, the 691 00:48:54,160 --> 00:48:54,960 Speaker 2: Heater with the Geater. 692 00:48:55,239 --> 00:48:57,680 Speaker 3: Yeah. I mean that's from a generation of DJs that 693 00:48:57,719 --> 00:49:01,680 Speaker 3: were really entertainers. They weren't just the people that hit play, 694 00:49:02,400 --> 00:49:04,640 Speaker 3: they were the entertainers themselves, you know. 695 00:49:08,200 --> 00:49:13,200 Speaker 2: So in closing, do you have any concept of where 696 00:49:14,480 --> 00:49:18,280 Speaker 2: our society would be if music wasn't such an active 697 00:49:18,320 --> 00:49:18,879 Speaker 2: part of it. 698 00:49:23,440 --> 00:49:27,719 Speaker 3: Well, it's trite, but I think it's true. Even in 699 00:49:27,800 --> 00:49:37,880 Speaker 3: my kind of pessimistic view of things. Music really is 700 00:49:37,920 --> 00:49:43,279 Speaker 3: the connecting glue between people. There's every reason you can 701 00:49:43,320 --> 00:49:50,160 Speaker 3: think of now that people would be divided and antagonistic 702 00:49:51,560 --> 00:49:59,319 Speaker 3: and disconnected right in a very acrimonious way. Like we're 703 00:49:59,360 --> 00:50:03,319 Speaker 3: going through some thing now in the United States that 704 00:50:04,280 --> 00:50:07,120 Speaker 3: we don't understand the changes that are happening right now 705 00:50:07,760 --> 00:50:14,480 Speaker 3: in the United States culturally that other countries with longer 706 00:50:14,560 --> 00:50:17,920 Speaker 3: histories have gone through before. They've gone through periods of 707 00:50:17,960 --> 00:50:29,600 Speaker 3: time with you know, fascist regimes and neighbors, you know, 708 00:50:29,719 --> 00:50:32,400 Speaker 3: ratting on each other to the government and all kinds 709 00:50:32,440 --> 00:50:35,319 Speaker 3: of terrible things that other countries have gone through, and 710 00:50:35,400 --> 00:50:40,239 Speaker 3: now we're just starting to go through this really increased 711 00:50:40,400 --> 00:50:45,319 Speaker 3: period of animosity between people. Culturally. It's a sad thing. 712 00:50:45,920 --> 00:50:50,680 Speaker 3: Music is probably the only thing we have, maybe sports, 713 00:50:51,560 --> 00:50:54,840 Speaker 3: but music, but that's team versus team. Music is a 714 00:50:54,880 --> 00:51:00,000 Speaker 3: thing that absolutely unites people. And I know this first 715 00:51:00,120 --> 00:51:05,040 Speaker 3: hand because I do shows. I do these free shows 716 00:51:05,080 --> 00:51:07,400 Speaker 3: in the summer where I go to towns and counties 717 00:51:07,440 --> 00:51:18,239 Speaker 3: and do these public events where anyone can show up, black, white, gay, straight, Republican, Democrat, old, young, whatever. 718 00:51:19,200 --> 00:51:24,040 Speaker 3: You get everybody at these shows and the scene is 719 00:51:24,080 --> 00:51:27,719 Speaker 3: set for animosity let me tell you, I've walked down 720 00:51:27,760 --> 00:51:30,680 Speaker 3: on stage and situations where people were already screaming at 721 00:51:30,680 --> 00:51:35,240 Speaker 3: each other. And it's my job to try to find 722 00:51:35,280 --> 00:51:39,759 Speaker 3: a pathway through music that I can actually get them 723 00:51:39,800 --> 00:51:45,600 Speaker 3: all together. It's challenging, but you can do it without music. 724 00:51:45,640 --> 00:51:52,880 Speaker 3: You can't. It's a fundamental need that we have, is 725 00:51:52,920 --> 00:51:56,520 Speaker 3: the need for music in our society. I wish it 726 00:51:56,600 --> 00:51:59,400 Speaker 3: was valued more. I wish it was valued more in 727 00:51:59,440 --> 00:52:05,400 Speaker 3: our society, in our schools and in our public in 728 00:52:05,520 --> 00:52:12,880 Speaker 3: public sphere. But I see it firsthand, the power of music. 729 00:52:13,719 --> 00:52:17,440 Speaker 3: I have fans, people that come to my shows and 730 00:52:17,480 --> 00:52:22,279 Speaker 3: follow me who are absolutely on the opposite side of 731 00:52:22,280 --> 00:52:24,759 Speaker 3: the political spectrum for me, and they let me know it, 732 00:52:26,000 --> 00:52:28,560 Speaker 3: and I work hard to try to keep them at 733 00:52:28,600 --> 00:52:34,240 Speaker 3: the table. Maybe I'll change their perspective, maybe I won't, 734 00:52:35,400 --> 00:52:41,160 Speaker 3: but I still welcome them into the room on the 735 00:52:41,239 --> 00:52:46,319 Speaker 3: offhand chance that they might see a broader spectrum in 736 00:52:46,360 --> 00:52:49,960 Speaker 3: our society. All Right, it's a lot of work, but 737 00:52:50,040 --> 00:52:51,080 Speaker 3: it's worth it. I think. 738 00:52:53,360 --> 00:52:58,160 Speaker 2: I think it's definitely worth it, and I'm so grateful. 739 00:52:58,239 --> 00:53:02,839 Speaker 2: We got to steps on in Columbus Square Playground. 740 00:53:02,239 --> 00:53:04,040 Speaker 3: We drained around the park. 741 00:53:04,280 --> 00:53:06,560 Speaker 7: Yeah, it was. It was a saunter at times. 742 00:53:06,960 --> 00:53:10,520 Speaker 6: We debated going in the. 743 00:53:09,480 --> 00:53:11,919 Speaker 7: Pool over there, but I think that would have gotten 744 00:53:11,920 --> 00:53:12,440 Speaker 7: a little sit I. 745 00:53:12,440 --> 00:53:16,600 Speaker 3: Look good for that. I can't Adam thanks for and 746 00:53:16,600 --> 00:53:18,919 Speaker 3: I've taking a walk. I appreciate it as my man. 747 00:53:21,200 --> 00:53:24,799 Speaker 1: Taking a walk with buzz Night is available on Spotify, 748 00:53:25,400 --> 00:53:29,120 Speaker 1: Apple Podcasts, or wherever you get your podcasts.