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Speaker 1: Quest Love Supreme is a production of iHeartRadio.

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Speaker 2: What is Up?

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Speaker 3: But this is Unpaid Bill from Quest Love Supreme. In

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Speaker 3: celebration of Women's History Month, we are highlighting conversations new

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Speaker 3: and alal with some legendary women. Back in July twenty

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Speaker 3: twenty one, we interviewed one of the most important rock

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Speaker 3: bands in the last thirty years, also being credited as

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Speaker 3: pioneers in the riot girl movement. I asked Kerry and

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Speaker 3: Karen about having a band without a base player, which

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Speaker 3: always blew me away. Listen back as sleeper Kenny talk

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Speaker 3: about health, creativity and art.

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Speaker 4: Enjoy this episode, Ladies and gentlemen.

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Speaker 1: I don't have the name of my show. Okay, guys,

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Speaker 1: Free Style Supree Right, matter of fact, let's just let

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Speaker 1: this be the intro summer of Summer Summer. Ladies and gentlemen,

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Speaker 1: this is Questlove and you're listening to another episode of

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Speaker 1: Quest Love Supreme featuring Unpaid Bill, Tony winner of Freestyle

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Speaker 1: Love Supreme. By the way, yes, we have also Fontigoelo

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Speaker 1: with us what's up? Brother? What Up? What Up? What up?

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Speaker 1: What's that? And Sugar Steve Hi. Everybody, Yeah, how you doing?

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Speaker 1: This is gonna be a very quiet episode because Lai

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Speaker 1: is not with us right now, but she's with us.

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Speaker 1: A very quiet episode. We're very honored to have our

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Speaker 1: guest today. Our guest first emerged from Olympia, Washington via

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Speaker 1: nineteen ninety four. Well, I would like to say that Northwest,

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Speaker 1: because I don't know if it's Portland or Olympia, Washington.

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Speaker 1: But I will say that I became aware of them

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Speaker 1: because of everyone knows that, of my fan worship of

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Speaker 1: music critics, and it's like my my, my music hero.

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Speaker 1: Robert Christigau, formerly of the of the Village Voice, he

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Speaker 1: called them one of the most important rock band in

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Speaker 1: the last thirty years, and they've been rightfully credited as

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Speaker 1: the pioneers and the riot girl movement. Between their self

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Speaker 1: titled debut and ninety four and their seventh album, The

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Speaker 1: Wood in two thousand and five, they took a nine

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Speaker 1: year hiatus, which I'd never heard of hiatus that long

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Speaker 1: unless you're from Richmond, Virginia. Returning say sorry, no shame right,

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Speaker 1: that's a real hiatus, returning with twenty fourteen No Cities

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Speaker 1: to Love following another five year break with these, Saint

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Speaker 1: Vincent produced The Center Won't Hold by the way, shout

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Speaker 1: out to any band that uses any Chinwana Chevy or

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Speaker 1: William Yeats references in their album titles. If the Roots

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Speaker 1: were to make Things Fall Apart Part two, I would

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Speaker 1: have actually called it The Center Won't Hold. Thankfully, the

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Speaker 1: gap between their latest album, which is called The Path Wellness,

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Speaker 1: was only two years. And gentlemen, please welcome to Questlove

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Speaker 1: Supreme leader Kenny, Thank you ladies for joining us.

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Speaker 5: Yes for having us, Thanks for having us.

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Speaker 1: How are you?

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Speaker 5: We're good? We're good, Yeah, We're we yeah.

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Speaker 2: We would Just to answer your question from the intro,

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Speaker 2: I think it was I think the Northwest is a

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Speaker 2: good enough thing to say because Olympia Portland. Yeah, they're

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Speaker 2: far apart, but we were kind of living in both

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Speaker 2: places at once, so that counts.

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Speaker 1: You know. What is weird In doing research, I've realized

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Speaker 1: I didn't realize how much of the actions of the

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Speaker 1: Northwest and the creative epicenter of the Northwest really informed

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Speaker 1: the blueprint of my career, because you know, in choosing

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Speaker 1: Geffen as a label, of course, Nirvana was like part

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Speaker 1: of that decision making even us having to move to Europe.

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Speaker 1: Inavertent Kirk is sort of responsible for that. But you know,

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Speaker 1: we spent a lot of time, like Portland's my all

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Speaker 1: time favorite city on Earth, and just the time period

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Speaker 1: that we spent performing and gigging between the two states

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Speaker 1: between like ninety four to ninety nine, well really on,

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Speaker 1: but there was a period between like ninety four and

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Speaker 1: ninety nine in which like we did a lot of

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Speaker 1: concentrated touring between the two areas and sort of having

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Speaker 1: gotten to know like a lot of people that were

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Speaker 1: sort of legends on the scene, Like I didn't get

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Speaker 1: to know YouTube, but like when I first got there,

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Speaker 1: sort of like Kathleen was kind of our guide, like

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Speaker 1: and you know, we really didn't know about the riot

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Speaker 1: Girl movement and anything like that, but she was like

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Speaker 1: really an interesting character that sort of like took a

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Speaker 1: liking to us and kind of shows us a rope.

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Speaker 1: And so I didn't realize like how much the north

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Speaker 1: the Northwest sort of played in our decision. I actually

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Speaker 1: wanted to start by asking. So during that period it

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Speaker 1: in which like the entire music press was like salivating

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Speaker 1: almost fetishizing like what's coming, Like what's what's the magic

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Speaker 1: in the Northwest or whatnot? Like how did how does

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Speaker 1: that play into how you can even find a space

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Speaker 1: to be creative and in forming a band and getting

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Speaker 1: space when like every critic is looking for the next

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Speaker 1: like who's coming out in sub pop or these labels?

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Speaker 1: Like what was it like then?

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Speaker 6: Yeah, yeah, no, I think it was.

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Speaker 7: I think it was pretty overwhelming, like at the time,

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Speaker 7: because there was such high level journalists who would like

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Speaker 7: come to a Riot Girl meeting or show up at

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Speaker 7: a Riot Girl show. And you know, we were we

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Speaker 7: were kids at the time, Like we were writing this

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Speaker 7: like confessional poetry and this, you know, this work that

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Speaker 7: was like very personal and I don't think we realized

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Speaker 7: how intense that spotlight was, but when we did, I

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Speaker 7: think it was, you know, it felt like it was

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Speaker 7: almost radioactive at times.

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Speaker 2: Yeah, and we actually left, like when Slater Kinney formed,

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Speaker 2: which was yeah, like nineteen ninety four. We were still

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Speaker 2: in other bands, but we wanted we started playing music together,

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Speaker 2: and you know, Olympia and that scene was so insular,

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Speaker 2: and I mean, you know, when you're coming out of

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Speaker 2: a small scene, there's it's like a blessing and a curse.

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Speaker 2: You have all this support, there's community, but then there's

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Speaker 2: also this way where you feel like everyone already knows you,

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Speaker 2: everyone already kind of has these expectations of you, and

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Speaker 2: you can't necessarily step out of that or redefine who

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Speaker 2: you want to be. And so we actually went all

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Speaker 2: the way to Australia, like we actually created space and

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Speaker 2: distance in order to be able to imagine ourselves as

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Speaker 2: something else, imagine ourselves outside.

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Speaker 5: The glare of some of that, you know, journalistic scrutiny.

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Speaker 5: And I think you have to do that.

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Speaker 2: You either, if you don't have the ability to physically leave,

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Speaker 2: you have to create an imagined space for yourself.

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Speaker 1: I was wondering if that was a typo because I

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Speaker 1: was like, wait a minute, Melbourne, Australia to create your

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Speaker 1: first record, Like how does that happen? But I also

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Speaker 1: I also wanted to know because it's weird because I

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Speaker 1: fell into you guys. Kind of ask backwards and I'll

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Speaker 1: be fully transparent. It's like I know everything about you guys,

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Speaker 1: and I know nothing about you guys, only because it's

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Speaker 1: kind of weird to say that fell and ask backwards

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Speaker 1: because usually when a guest comes on the show, like

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Speaker 1: I know everything about them but their DNA. And so

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Speaker 1: in my particular case, like if people come up to

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Speaker 1: me in the airport, they you know, refer to me

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Speaker 1: as like, oh, that's Jimmy Fallon's drummer, or like, oh,

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Speaker 1: you're the guy on your Gaba gabba, And you know,

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Speaker 1: sometimes my ego, like it doesn't hurt now, but like

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Speaker 1: in the beginning, like my ego would get like really

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Speaker 1: deflated and I would just you know, I feel like

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Speaker 1: that was sort of like asking Michael Jordan if he's

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Speaker 1: the guy Haines commercial. So I would say that you

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Speaker 1: were always a name that was I was fully aware

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Speaker 1: of up until the creation of Portlandia. Like I only

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Speaker 1: knew and studied this s leader model simply because like

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Speaker 1: your names were always constantly on the top of every

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Speaker 1: like of critics I worship, and like your metacritic numbers

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Speaker 1: were super high, you know, Krista Galas putting you on

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Speaker 1: the top of the pass and job stuff, and like

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Speaker 1: again like I'm gonna critic obsessive, like putting these shits

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Speaker 1: on my wall, studying these things, figuring out the metrics

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Speaker 1: and all that stuff, and you know, but it took

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Speaker 1: reading your Hunger book Carrier for me to really like,

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Speaker 1: all right, I'm gonna dive into this and actually like

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Speaker 1: I'm gonna immerse myself and understand their art. And the

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Speaker 1: thing was because I fell into you first with humor,

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Speaker 1: and then I went back to the self title I

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Speaker 1: was in ninety five, I was like, oh wait a minute, huh.

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Speaker 1: I was like YO said, I wasn't ready. But then

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Speaker 1: I really that you guys have have really like I

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Speaker 1: feel like we almost took a similar journey in terms

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Speaker 1: of you know, where you started the internet meme, how

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Speaker 1: it started, where it's and where where you are now.

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Speaker 1: It's it's been quite a journey. How are you? How

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Speaker 1: are you as far as the position of where you're

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Speaker 1: perceived as like this really influential group that is influential

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Speaker 1: to other musicians but like not mainstream. Like how does

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Speaker 1: that feel?

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Speaker 7: You know? I think like you're saying you've like been

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Speaker 7: through a journey, and I feel like I feel like

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Speaker 7: with you know, with getting older and with kind of

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Speaker 7: having that realization the music is a journey, you know,

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Speaker 7: and that art is a journey, and humor and all

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Speaker 7: of it can be part of it. I think that

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Speaker 7: I feel really grateful of where we're at in a

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Speaker 7: way because it's true we might have like less commercial

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Speaker 7: success and a lot of other like bands that we've

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Speaker 7: sort of come up with, but we have a lot

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Speaker 7: of like artistic freedom, you know that I feel like

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Speaker 7: we are still on this journey that is like we're

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Speaker 7: building on it, like with producing our last, our most

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Speaker 7: recent record ourselves and trying out different things and hiring

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Speaker 7: this whole new band of musicians. Like I'm I feel

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Speaker 7: really lucky in that way of like I feel very

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Speaker 7: much like we are on this journey of like learning

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Speaker 7: and becoming more you know, able to make art and

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Speaker 7: make music.

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Speaker 1: I was going to ask why it took so long

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Speaker 1: for you guys to finally produce your records and what

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Speaker 1: took so long to come to this place where you

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Speaker 1: know what is in your head and what you want

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Speaker 1: to execute Or is it just important sometimes to have

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Speaker 1: a fresh set of ears that can sort of, you know,

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Speaker 1: is not afraid to challenge you or make you find,

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Speaker 1: you know, an alternative way to get your ideas out.

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Speaker 2: Yeah, I think it's been nice to have an arbiter

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Speaker 2: and you know, I mean, you know, from being in

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Speaker 2: a band, it's different than being a solo artist, so

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Speaker 2: you're already contending with multiple personalities and sometimes you need

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Speaker 2: that peacekeeper and so that you're not sort of turning

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Speaker 2: on each other with ideas. You know, someone that can

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Speaker 2: just step in and be like how about this, and

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Speaker 2: you know, and then it almost gives you as a

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Speaker 2: group something to like cohere around you're like, well, actually

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Speaker 2: we think you know it just it forms these like

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Speaker 2: in group dynamics. So I think we've always relied on

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Speaker 2: I mean, I would say our early records were for

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Speaker 2: all intents and purposes co produced by us, you know,

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Speaker 2: as you know, aside from like Dave Fridman on The

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Speaker 2: Woods or The Sky, Roger Mutino on the Hot Rock.

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Speaker 2: It was very hands off approach from our producers. You know,

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Speaker 2: they often wanted to just kind of capture the essence,

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Speaker 2: but it was just nice to have another voice there,

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Speaker 2: I guess.

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Speaker 5: So yeah, that's why since.

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Speaker 1: The constant presence on you know, a majority of your

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Speaker 1: records was so John Goodmanson, who you know I'm familiar

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Speaker 1: with well, with his Wu Tang credit. I mean, he's

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Speaker 1: worked with The Risk a few times. Yep, done a

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Speaker 1: whole bunch of other albums. I always wanted to know, like,

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Speaker 1: was it a thing where if you felt that you

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Speaker 1: could express an idea to your bandmates that you'd sort

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Speaker 1: of expressed it to him and then he could sort

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Speaker 1: of translate it better so that feelings weren't rattled or whatnot.

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Speaker 2: Or I don't feel like we ever circumvented each other.

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Speaker 2: I think it was just having a sounding board and

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Speaker 2: we trusted him. Like you said, like he's worked with

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Speaker 2: really a broad range of artists.

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Speaker 5: He's great.

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Speaker 2: You know, we never traditionally had a bass player, so

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Speaker 2: he's great with drums, he's great with low end like

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Speaker 2: he's Yeah, it was I think it was almost like

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Speaker 2: he was part cheerleader, part kind of deciding vote. But

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Speaker 2: we never like said, hey, John, can you tell Korin

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Speaker 2: that I'd rather do this?

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Speaker 1: So you're not the roots? Okay, I get it, I

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Speaker 1: get it. Okay. Usually I start the show off. I'm

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Speaker 1: very interested in the journey that gets you there. This's

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Speaker 1: the first time I'm really talking to Corinth, so I'll

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Speaker 1: ask you what I mainly ask our guest on the show.

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Speaker 1: Can you tell me your first musical memory? Oh my god,

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Speaker 1: did I say it like Nard War? I love it. Yeah,

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Speaker 1: I know these guys are like you never talk like this, Meir,

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Speaker 1: what are you doing okay?

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Speaker 6: Yeah.

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Speaker 7: I So my dad is like a hobby musician and

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Speaker 7: he did like folk music in the sixties. He actually

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Speaker 7: opened a gig for like Pete Seeger once was like

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Speaker 7: his claimed to fame and he went on and you know,

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Speaker 7: and and and eventually became like a college professor. But

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Speaker 7: he would when I was born, he would like play music.

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Speaker 7: And my first memory is like singing with him. So

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Speaker 7: he would, you know, teach me what he guthrie folks

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Speaker 7: songs and you know, all kind of like seventies stuff.

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Speaker 7: So that's my first memory.

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Speaker 1: Where were you born?

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Speaker 5: I was actually born.

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Speaker 6: In Pennsylvania at State College when my dad was getting

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Speaker 6: his PhD. There.

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Speaker 1: Oh you're from Pa. Yeah, okay, so am I okay? Cool? Uh?

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Speaker 1: Can you tell me the first album that you purchased,

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Speaker 1: Oh my god, which is different from like an album

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Speaker 1: in your house that's already there, Like the first album

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Speaker 1: that you purchased with your own money put your moment on, yeah,

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Speaker 1: or stole in this group, you could have stolen it.

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Speaker 7: There was like this, uh, this album with Pat Benattar

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Speaker 7: where she's wearing a straight jacket.

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Speaker 1: The second album not that you did in the night.

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Speaker 1: The second the one within Me with your best shotow

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Speaker 1: on it.

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Speaker 7: Yeah, yeah, yeah, the big album. Yeah, I was like

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Speaker 7: I this for whatever reason, I was like I need this, Okay,

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Speaker 7: I put down hard money for that album, We'll See.

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Speaker 1: Your north Star. When you were growing up, like what

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Speaker 1: what voices did you gravitate towards?

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Speaker 7: Definitely Pat Benatar, you know, like this is a big,

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Speaker 7: very muscular, you know, intense voice. Great singer for sure.

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Speaker 7: And yeah, I mean I love Dolly Parton. I loved

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Speaker 7: Aretha Franklin, you know, like the big voice with a

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Speaker 7: big like range was always like so influential.

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Speaker 1: I think, all right, carry I'll go to you. Could

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Speaker 1: you tell us what your first musical memory was?

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Speaker 2: Yeah, I think mine is probably a little less cool

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Speaker 2: than Coorn. Sorry, I have this young dog. It's like

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Speaker 2: suddenly decided this was this is his witching hour. And

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Speaker 2: my parents did not have great taste in music. They

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Speaker 2: always liked the albums like there's the Eagles, who I'm

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Speaker 2: not a big fan of. But my dad also had

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Speaker 2: all their solo albums too. Okay, all right, definitely it

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Speaker 2: was my parents had a party, like not a party,

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Speaker 2: but like a hangout, and they were they had the

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Speaker 2: Long Run by the Eagles on and I needed to

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Speaker 2: go No, no, I like the Eagles, I like this,

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Speaker 2: I like that album. But I'm just saying like, so

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Speaker 2: I was I needed to go to bed. My parents

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Speaker 2: were like, time for you to go to bed, and

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Speaker 2: I was like, I would first like to perform Life

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Speaker 2: in the Fast Lane for you all, and which is

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Speaker 2: a song about like driving on the highway, like coke

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Speaker 2: down of your head, and.

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Speaker 5: So it does.

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Speaker 2: And I didn't know it was about that. I just

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Speaker 2: thought it was about it was a cool song about driving.

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Speaker 2: So I just sang along to the song and my

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Speaker 2: parents and their friends just humored me, and then I

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Speaker 2: went to bed. That's the first thing I remember musically.

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Speaker 1: That's your first musical memory. Can you tell me the

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Speaker 1: first album that you purchased with your own money?

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Speaker 5: Yes, it was Thriller Michael Jackson.

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Speaker 2: Yes, I mean, you know, it was the biggest album

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Speaker 2: in the world and everyone had to have it, and

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Speaker 2: I listened to it a million times.

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Speaker 1: I see.

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Speaker 8: That was the first album I ever owned, too. That

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Speaker 8: was the first my own personal album that I own myself.

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Speaker 1: See to make you feel better, Carrie, Although I would

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Speaker 1: love to say something really cool I've already been outed

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Speaker 1: in the press. The world knows that, Like Neil Sadako

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Speaker 1: was the first forty five.

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Speaker 8: So I got you within the rain of jam though, yeah,

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Speaker 8: but mine was more bad blood, like it's.

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Speaker 1: Sorry, yeah, you know, so you know, I'm not that cool.

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Speaker 1: We need either, Carrie, so you're cool. At what point

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Speaker 1: for the both of you, are you realizing that you

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Speaker 1: have a voice or that a music is something that

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Speaker 1: you're interested in pursuing, not just something that casually that

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Speaker 1: just happens, you know, in your household.

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Speaker 7: I think for me, I I moved to Olympia to

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Speaker 7: go to college.

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Speaker 6: I went to like, you know, the Evergreen State College

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Speaker 6: when all of.

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Speaker 7: The stuff was happening, and I have to credit Bikini

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Speaker 7: Kill and Brat Mobile playing a show, and I was

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Speaker 7: just I just got to be like right up close,

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Speaker 7: like right there when they were doing their thing, and

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Speaker 7: I was like, I want to do that. I'm going

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Speaker 7: to start a band, and I in my head I

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Speaker 7: started a band Like that night. I was just like

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Speaker 7: I'm in I'm doing it too, okay, you know, because

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Speaker 7: I saw.

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Speaker 6: Them do it.

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Speaker 7: They were my age and they were they were just

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Speaker 7: starting out, and so it just like opened the door.

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Speaker 1: He explained to me the whole idea of what Rygirl represents.

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Speaker 1: And is that a title that was invented by the

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Speaker 1: proprietors or again, was it some guy from Spin magazine

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Speaker 1: sort of searching for the next big thing and then said, okay,

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Speaker 1: this is right girl with a bunch of rs in it.

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Speaker 5: No, it was.

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Speaker 7: It was actually like a genuine movement, you know. It

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Speaker 7: was the title was you know, started by a young

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Speaker 7: woman in DC who was like, we need to start

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Speaker 7: an actual movement for women in the independent music scene

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Speaker 7: that that highlights women's roles and supports women and talks

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Speaker 7: about safe spaces for women. And there were meetings. You

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Speaker 7: could go to a meeting you could talk about all

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Speaker 7: these things. You could talk about, you know, being in

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Speaker 7: a bad relationship, sexual assault, like all of the kind

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Speaker 7: of like.

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Speaker 5: Taboo stuff at the time.

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Speaker 7: At that time, at the time, there just wasn't another

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Speaker 7: space for that stuff to come out and happen.

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Speaker 6: So it was it was very real.

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Speaker 5: It was very.

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Speaker 6: Taboo at the time.

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Speaker 7: And you know, Kathleen Hannah was she was, you know,

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Speaker 7: very much like a cultural leader, right, she was. She

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Speaker 7: was like our poet because she was writing and the

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Speaker 7: stuff that she was incredible poet, incredible.

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Speaker 6: Writer and performer, you know, and very confrontational.

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Speaker 7: But she was saying all the stuff that we were

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Speaker 7: all like so afraid to say ourselves.

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Speaker 1: Okay, So the first time I met Kathleen Hannah, I

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Speaker 1: didn't know I was mean, Like I didn't know anything

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Speaker 1: about rygir whatever. Like the Roots are just doing a

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Speaker 1: show somewhere up in Seattle. I forget the spot in

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Speaker 1: Seattle that we were playing. I know it was across

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Speaker 1: the sheet from the spot where they throw a fish.

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Speaker 5: Oh yeah, the showbox.

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Speaker 1: Yeah, we were at the showbox. Yeah, I'll say that. Yeah,

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Speaker 1: I met. Matter of fact, the first three times I've

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Speaker 1: met or seeing Kathleen, she was like cursing someone out,

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Speaker 1: Like it was always like, yeah, and my manager, Rich

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Speaker 1: was they those two were like really good friends. So

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Speaker 1: he's sort of my manager who passed away. Him and

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Speaker 1: her really became good friends. And you know, he just liked,

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Speaker 1: that makes all the sense.

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Speaker 8: Oh my god, you see it down here and you describe,

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Speaker 8: Oh my god, that makes yeah, Oh that's how I

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Speaker 8: know this.

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Speaker 1: Shit, Like my shit is all trickle down economics from

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Speaker 1: Rich and him, him and Kathleen were like talking whatever,

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Speaker 1: Like I mean, but she was just I've never seen

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Speaker 1: that person, so just wild and unhinged and just told

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Speaker 1: what the fuck she felt and all that. Like I

390
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Speaker 1: was just like, yoh, this is unheard of whatever. So

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Speaker 1: that that was like my introduction to her. She was

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Speaker 1: cool and very nice to us, but like in a second,

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Speaker 1: she will she'll bring the ruckus and I've just never

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Speaker 1: seen that shit, so you know, and I don't really

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Speaker 1: be like, oh intense or whatever, but that's what it

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Speaker 1: was like for me meeting her. So could you tell

397
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Speaker 1: me what the environment was, at least at the time

398
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Speaker 1: in the Northwest that really prompted this movement to really

399
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Speaker 1: find its legs.

400
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Speaker 7: Yeah, I mean, the you know, the Northwest was this

401
00:22:15,520 --> 00:22:19,199
Speaker 7: hotbed of like independent music. So there was all of

402
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Speaker 7: this like criticism of mainstream music that was you know,

403
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Speaker 7: that wasn't genuine, It wasn't you know, real art and everything.

404
00:22:31,800 --> 00:22:36,520
Speaker 7: And this music scene was about you know, like real

405
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Speaker 7: people telling their stories and making music available to everyone.

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Speaker 6: So you know, five dollars shows and all that.

407
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Speaker 7: But it was also this kind of like slam dancing,

408
00:22:48,640 --> 00:22:53,479
Speaker 7: rather violent culture at every show, and so there was

409
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Speaker 7: just not a lot of space for women to feel like,

410
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Speaker 7: am I going to be safe going to this show?

411
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Speaker 7: Am I going to feel like I you know, my

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Speaker 7: voice is heard? And the roles for women were still

413
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Speaker 7: like oh, yeah, you know, my boyfriend's in that band

414
00:23:08,720 --> 00:23:12,560
Speaker 7: and right, and and I just like went for yeah,

415
00:23:12,640 --> 00:23:15,199
Speaker 7: a foil. And so when you had a personality like

416
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Speaker 7: Kathleen who was like protagonist, right, so she was like

417
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Speaker 7: center stage at all times, it was like an arrow

418
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Speaker 7: like shot through our hearts. It was like, I I

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Speaker 7: want to be like that. Like I'm I was a shy, awkward,

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Speaker 7: kind of academic type kid. But I saw someone just

421
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Speaker 7: like take control of the stage be like I have

422
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Speaker 7: a story to tell and everyone in this room is

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Speaker 7: going to listen, And that just opened the door.

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Speaker 2: It kind of took feminism and you know, even though

425
00:23:51,320 --> 00:23:54,640
Speaker 2: they're definitely you know, very fair critiques of Riot Girl,

426
00:23:54,720 --> 00:23:58,640
Speaker 2: like just like other early iterations of feminism, it lacked intersectionality,

427
00:23:59,359 --> 00:24:02,960
Speaker 2: and you know, it was largely white women, although there

428
00:24:03,080 --> 00:24:06,879
Speaker 2: was tons of women of color there as well, But

429
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Speaker 2: it definitely took feminism out of an academic context and

430
00:24:12,840 --> 00:24:16,919
Speaker 2: gave it a very like punk, very colloquial vernacular. It

431
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Speaker 2: was like here was you know, like a world of

432
00:24:19,840 --> 00:24:21,840
Speaker 2: punk had just come out of like a hard core phase,

433
00:24:21,960 --> 00:24:24,720
Speaker 2: especially on the West Coast, which was super violent. So

434
00:24:24,760 --> 00:24:26,320
Speaker 2: all of a sudden, it was like, what if we

435
00:24:26,359 --> 00:24:31,200
Speaker 2: took this movement, these ideas that are largely like in

436
00:24:31,560 --> 00:24:35,040
Speaker 2: you know, college textbooks, and just put it over three

437
00:24:35,119 --> 00:24:36,439
Speaker 2: courts and screamed it?

438
00:24:36,560 --> 00:24:37,880
Speaker 5: And that was very liberating.

439
00:24:37,960 --> 00:24:40,160
Speaker 2: I think to think that if you had a message,

440
00:24:40,200 --> 00:24:42,720
Speaker 2: it didn't necessarily need to be couched in a book,

441
00:24:42,920 --> 00:24:45,639
Speaker 2: you know, that it could be couched in a scream

442
00:24:45,760 --> 00:24:48,520
Speaker 2: or a yelp. And I think that just freed up

443
00:24:48,560 --> 00:24:50,600
Speaker 2: a lot of people to express themselves. I mean the

444
00:24:50,600 --> 00:24:53,959
Speaker 2: same way so much music just becomes like a source

445
00:24:54,080 --> 00:24:56,600
Speaker 2: of liberation for people, where it's like I have something

446
00:24:56,640 --> 00:24:57,960
Speaker 2: to say, and now I can say it over this

447
00:24:58,080 --> 00:24:59,120
Speaker 2: song instead.

448
00:24:58,840 --> 00:25:01,840
Speaker 5: Of you know, writing out to say it my way exactly.

449
00:25:07,040 --> 00:25:10,920
Speaker 1: So what's the point where you two meet each other

450
00:25:11,680 --> 00:25:17,359
Speaker 1: and sort of talk in terms of starting a group

451
00:25:17,400 --> 00:25:21,520
Speaker 1: in and starting the beginning of leader.

452
00:25:21,359 --> 00:25:25,760
Speaker 2: Kidney, that was yeah, I was ninety four. I was

453
00:25:25,800 --> 00:25:28,720
Speaker 2: already living in Olympia to go to college as as well.

454
00:25:29,080 --> 00:25:31,000
Speaker 2: Koran was I think you were in your senior year,

455
00:25:31,359 --> 00:25:33,359
Speaker 2: and we were both in other bands. Koran was in

456
00:25:33,400 --> 00:25:35,000
Speaker 2: a much.

457
00:25:34,800 --> 00:25:35,400
Speaker 5: More like.

458
00:25:37,160 --> 00:25:41,040
Speaker 2: Prototypical or archetypal, right girl band called Heavens to Betsy,

459
00:25:41,320 --> 00:25:44,040
Speaker 2: and I was in a band called Excuse seventeen.

460
00:25:44,240 --> 00:25:46,000
Speaker 5: You know that was that like day those days.

461
00:25:46,040 --> 00:25:47,280
Speaker 1: We were in that group too, correct.

462
00:25:48,200 --> 00:25:50,040
Speaker 5: Kathleen, No, she was in neither.

463
00:25:50,440 --> 00:25:53,359
Speaker 1: She was in but she was in other bands. I

464
00:25:53,359 --> 00:25:54,399
Speaker 1: didn't know if.

465
00:25:54,440 --> 00:25:57,879
Speaker 2: Everyone was in so many bands, right, Okay, yeah, And

466
00:25:57,960 --> 00:26:02,200
Speaker 2: so we just saw this kindred spirit and each other,

467
00:26:02,280 --> 00:26:04,879
Speaker 2: like you know, Koran was the only her band was

468
00:26:04,920 --> 00:26:09,159
Speaker 2: two people, Koran on guitar and a drummer. And then

469
00:26:09,200 --> 00:26:12,560
Speaker 2: I was in a band with a similar setup to

470
00:26:12,720 --> 00:26:15,840
Speaker 2: Slater Kinney what Slater Keny would be two guitars and drums,

471
00:26:16,040 --> 00:26:19,200
Speaker 2: and we just we thought, I know, I heard Korn

472
00:26:19,240 --> 00:26:21,520
Speaker 2: sing and I was like, I would love to be

473
00:26:21,600 --> 00:26:23,880
Speaker 2: writing songs with this person. And she heard me play

474
00:26:23,920 --> 00:26:26,399
Speaker 2: guitar and had the same feeling, and so we started

475
00:26:26,400 --> 00:26:29,080
Speaker 2: playing kind of as a side project, and then pretty

476
00:26:29,119 --> 00:26:31,560
Speaker 2: quickly that became what we wanted to do. It was

477
00:26:31,640 --> 00:26:33,200
Speaker 2: just a very innate chemistry.

478
00:26:33,720 --> 00:26:38,359
Speaker 3: Why was there always no bass players? I'm just just

479
00:26:38,400 --> 00:26:39,679
Speaker 3: because he didn't want them.

480
00:26:39,960 --> 00:26:40,280
Speaker 5: It was.

481
00:26:40,359 --> 00:26:43,160
Speaker 7: It was definitely like a thing in the northwest of like,

482
00:26:43,600 --> 00:26:47,879
Speaker 7: you know, how can we be different and not not like,

483
00:26:48,160 --> 00:26:51,200
Speaker 7: you know, sort of the archetype rock band.

484
00:26:52,359 --> 00:26:54,240
Speaker 2: Yeah, and neither of us played I think it just

485
00:26:54,359 --> 00:26:56,919
Speaker 2: was played bass and we just wanted to be this

486
00:26:57,000 --> 00:26:59,960
Speaker 2: like kind of tight unit. I think there's sometimes when

487
00:27:00,080 --> 00:27:02,760
Speaker 2: you're when something is perceived as a lack, it actually

488
00:27:02,800 --> 00:27:05,360
Speaker 2: can be a strength through like how can we find

489
00:27:05,400 --> 00:27:10,000
Speaker 2: a way into these songs without the traditional instrumentation, you know,

490
00:27:10,040 --> 00:27:12,360
Speaker 2: it kind of forces you to write differently. We detuned

491
00:27:12,359 --> 00:27:14,920
Speaker 2: to see sharp, so Korin was singing in this really

492
00:27:14,960 --> 00:27:17,840
Speaker 2: high register and you know, trying to get low end

493
00:27:17,920 --> 00:27:20,480
Speaker 2: sound out of for a guitar. And yeah, I think

494
00:27:20,520 --> 00:27:23,399
Speaker 2: we used it to our advantage. Although now in the

495
00:27:23,440 --> 00:27:25,919
Speaker 2: past couple of years. You know, obviously we like bass.

496
00:27:26,000 --> 00:27:28,119
Speaker 2: Early on though people always ask us like, do you

497
00:27:28,160 --> 00:27:30,640
Speaker 2: guys not like bass? I'm like, no, ninety nine point

498
00:27:30,680 --> 00:27:32,719
Speaker 2: nine percent of all music we listened to has bass.

499
00:27:33,040 --> 00:27:36,640
Speaker 1: Okay, how long have you been playing guitar? Carrie?

500
00:27:37,119 --> 00:27:39,600
Speaker 2: I started when I was fifteen, so it has been

501
00:27:40,560 --> 00:27:42,320
Speaker 2: what is that thirty years?

502
00:27:43,160 --> 00:27:43,280
Speaker 1: Ok?

503
00:27:43,880 --> 00:27:45,200
Speaker 5: Yeah?

504
00:27:45,560 --> 00:27:48,399
Speaker 1: Yeah, Korin, how long have you been playing guitar.

505
00:27:49,240 --> 00:27:51,399
Speaker 6: It is, it's like thirty years because I started when

506
00:27:51,440 --> 00:27:53,320
Speaker 6: I was like eighteen, So.

507
00:27:54,160 --> 00:27:57,760
Speaker 1: Okay, well resisting the temptation and making a spinal tap

508
00:27:58,400 --> 00:28:02,639
Speaker 1: joke and I know that. And Janet joined the band

509
00:28:02,880 --> 00:28:06,040
Speaker 1: three albums later. But was it always the plan to

510
00:28:06,080 --> 00:28:09,199
Speaker 1: sort of have various musicians because I noticed that what

511
00:28:09,359 --> 00:28:12,760
Speaker 1: determines what your sound is probably also depends on the

512
00:28:12,800 --> 00:28:16,560
Speaker 1: musicians that are playing with you as well. So your

513
00:28:16,600 --> 00:28:20,600
Speaker 1: first drummer, Laura McFarlane, how do musicians come in the

514
00:28:20,600 --> 00:28:23,000
Speaker 1: group and how do they leave? Like is it just

515
00:28:23,960 --> 00:28:25,760
Speaker 1: a one and done thing or you guys are just

516
00:28:25,800 --> 00:28:28,280
Speaker 1: taking this a little more serious than the other.

517
00:28:28,320 --> 00:28:32,119
Speaker 2: Or no, I mean definitely just to say about Janet,

518
00:28:32,160 --> 00:28:33,719
Speaker 2: and she's an integral part of the band. I mean

519
00:28:33,720 --> 00:28:35,640
Speaker 2: I wrote about it in my book. When she joined,

520
00:28:36,320 --> 00:28:36,600
Speaker 2: you know.

521
00:28:36,840 --> 00:28:38,200
Speaker 1: We were like, yeah, that's when you jelled.

522
00:28:38,360 --> 00:28:40,360
Speaker 5: Yeah, we were like, this is this is great?

523
00:28:40,400 --> 00:28:43,080
Speaker 2: I would I'm I am sure as people assess us,

524
00:28:43,680 --> 00:28:46,640
Speaker 2: you know, ten fifteen years from now or you know,

525
00:28:46,640 --> 00:28:48,680
Speaker 2: they're like that will be the classic period of the band,

526
00:28:48,760 --> 00:28:50,720
Speaker 2: So you know they were never throw away.

527
00:28:51,120 --> 00:28:52,800
Speaker 1: Being the rock and Hall of Fame, I get it.

528
00:28:53,160 --> 00:28:55,640
Speaker 2: Yeah, she's a great drummer so that Korn can talk

529
00:28:55,680 --> 00:28:58,560
Speaker 2: about Laura because yeah, she had brought her own avant

530
00:28:58,600 --> 00:28:59,800
Speaker 2: guarde style for sure.

531
00:29:01,080 --> 00:29:03,920
Speaker 7: Yeah. I mean I think a lot of it is

532
00:29:04,040 --> 00:29:09,479
Speaker 7: like a little bit happenstance on our part, Like you know,

533
00:29:09,520 --> 00:29:12,720
Speaker 7: we went we did go to Australia thinking like, hey,

534
00:29:12,760 --> 00:29:15,280
Speaker 7: let's play music, you know, and there was there was

535
00:29:15,320 --> 00:29:19,440
Speaker 7: like this international underground music community for real, And we

536
00:29:19,480 --> 00:29:23,920
Speaker 7: wrote her a letter, We wrote, like the record label

537
00:29:24,160 --> 00:29:26,400
Speaker 7: a letter and she wrote back like yeah.

538
00:29:26,240 --> 00:29:27,000
Speaker 6: Let's play music.

539
00:29:28,000 --> 00:29:30,440
Speaker 7: And that's just how it happened, and you know, and

540
00:29:30,440 --> 00:29:33,520
Speaker 7: then eventually it was like, well she did come over

541
00:29:33,600 --> 00:29:35,800
Speaker 7: and we played music here, and then she was like

542
00:29:35,880 --> 00:29:37,719
Speaker 7: I kind of need to go back to Australia.

543
00:29:37,960 --> 00:29:41,440
Speaker 1: We're like, yeah, oh, okay, now that you're in the

544
00:29:41,520 --> 00:29:45,440
Speaker 1: game of being on an indie label, can you just

545
00:29:45,480 --> 00:29:49,400
Speaker 1: walk us through the process of how do you manage

546
00:29:49,440 --> 00:29:54,120
Speaker 1: to survive and be creative at the same time, Like

547
00:29:54,680 --> 00:29:56,960
Speaker 1: for those first few albums, did you still have to

548
00:29:57,000 --> 00:30:01,840
Speaker 1: have day jobs or was it like okay, a, you know,

549
00:30:01,920 --> 00:30:04,760
Speaker 1: we can sort of survive off of our club gigs

550
00:30:04,760 --> 00:30:06,920
Speaker 1: and what units that we're selling.

551
00:30:07,960 --> 00:30:10,880
Speaker 7: I mean, I think there's there was definitely some back

552
00:30:10,920 --> 00:30:14,560
Speaker 7: and forth, you know, like there were still temp jobs.

553
00:30:14,600 --> 00:30:17,560
Speaker 6: I think even after dig Me Out, I think that

554
00:30:18,480 --> 00:30:20,520
Speaker 6: we kind of put this.

555
00:30:20,520 --> 00:30:24,760
Speaker 7: Like idea about being creative and being control of the

556
00:30:24,760 --> 00:30:27,400
Speaker 7: creative part of things as something that was really important

557
00:30:27,440 --> 00:30:29,920
Speaker 7: to us. So we were always willing to like do

558
00:30:30,000 --> 00:30:32,680
Speaker 7: whatever other jobs needed to be done, I think, just

559
00:30:32,720 --> 00:30:34,520
Speaker 7: to like make money or whatever.

560
00:30:34,680 --> 00:30:35,360
Speaker 6: I mean, we weren't.

561
00:30:35,520 --> 00:30:38,520
Speaker 7: We weren't not making money from touring, and we were

562
00:30:38,560 --> 00:30:41,440
Speaker 7: always wanting to figure that out and make it better.

563
00:30:41,840 --> 00:30:45,320
Speaker 7: We were always like ambitious about that. It just it

564
00:30:45,360 --> 00:30:46,840
Speaker 7: took us a while to get there.

565
00:30:47,000 --> 00:30:51,680
Speaker 1: But what at what point are you absolutely full time

566
00:30:52,440 --> 00:30:56,800
Speaker 1: where ban I can pay my bills, I could put

567
00:30:57,160 --> 00:31:00,640
Speaker 1: cheese or my whopper and not break the bank, like.

568
00:31:01,360 --> 00:31:05,160
Speaker 2: Probably dig me Out, I would say, So that's ninety seven.

569
00:31:05,440 --> 00:31:08,560
Speaker 5: I mean, let's also be clear. I was living in Olympia.

570
00:31:08,560 --> 00:31:10,840
Speaker 2: I think my rent was three ninety five a month,

571
00:31:11,200 --> 00:31:14,080
Speaker 2: so that doesn't take that much. You know, you can

572
00:31:14,400 --> 00:31:17,520
Speaker 2: you can play a couple of shows even as a

573
00:31:17,560 --> 00:31:20,640
Speaker 2: tiny band and make you know. So we were living

574
00:31:20,640 --> 00:31:23,720
Speaker 2: in small towns in like you know, sharehouses and stuff.

575
00:31:23,920 --> 00:31:26,280
Speaker 2: But dig Me Out, I mean one thing at the

576
00:31:26,320 --> 00:31:30,840
Speaker 2: time on indie labels was these profit profit shares, which

577
00:31:30,880 --> 00:31:33,160
Speaker 2: you know, you just it was a split, and people

578
00:31:33,200 --> 00:31:37,040
Speaker 2: actually bought records. So even though these these records weren't

579
00:31:37,280 --> 00:31:40,720
Speaker 2: going gold or platinum, you know, when dig me out

580
00:31:40,760 --> 00:31:44,040
Speaker 2: sells you know, seventy five thousand copies or one hundred

581
00:31:44,040 --> 00:31:47,120
Speaker 2: thousand copies and you have, you know, getting fifty percent

582
00:31:47,320 --> 00:31:50,320
Speaker 2: of profit share, like at the time when you're in

583
00:31:50,360 --> 00:31:53,880
Speaker 2: your early twenties, that's that's definitely enough to live off of,

584
00:31:53,920 --> 00:31:55,680
Speaker 2: even if you're splitting it three ways.

585
00:31:56,200 --> 00:32:00,640
Speaker 1: So by the time that you guys are out, I

586
00:32:00,720 --> 00:32:05,400
Speaker 1: also know that every major label was looking up and

587
00:32:05,440 --> 00:32:07,600
Speaker 1: down the aisles for the next big thing or whatever

588
00:32:08,040 --> 00:32:10,160
Speaker 1: I mean. So at no point, like you know, I

589
00:32:10,200 --> 00:32:13,360
Speaker 1: know you guys started off from Chainsaw and then the

590
00:32:14,120 --> 00:32:17,760
Speaker 1: lovely titled Kill All rock Stars. First of all, with

591
00:32:17,960 --> 00:32:23,600
Speaker 1: those labels, is that are there actual are these actual labels?

592
00:32:23,600 --> 00:32:25,320
Speaker 1: Are just like okay, well, what are we going to

593
00:32:25,400 --> 00:32:28,160
Speaker 1: call the label this time? Or like is that your

594
00:32:28,240 --> 00:32:33,160
Speaker 1: label and you guys have a distribution system or is

595
00:32:33,640 --> 00:32:36,080
Speaker 1: Kill All rock Stars like an actual label like sub

596
00:32:36,120 --> 00:32:37,480
Speaker 1: Pop is, And you know.

597
00:32:37,680 --> 00:32:41,520
Speaker 7: Yeah, no, Kill rock Stars is definitely an actual label,

598
00:32:41,720 --> 00:32:44,280
Speaker 7: And and that point I think was pretty critical for

599
00:32:44,400 --> 00:32:48,280
Speaker 7: us because after the first record came out on Chainsaw,

600
00:32:49,120 --> 00:32:53,920
Speaker 7: which was a label run by fellow musicians, but they

601
00:32:53,920 --> 00:32:58,120
Speaker 7: were like still touring that it was Jody and Donna

602
00:32:58,160 --> 00:33:01,680
Speaker 7: from Team Drash, So that was, you know, problematic. We

603
00:33:01,720 --> 00:33:04,880
Speaker 7: did have a time when we were corded by major

604
00:33:04,960 --> 00:33:08,800
Speaker 7: labels before Digging Me Out, and we considered it. You know,

605
00:33:08,840 --> 00:33:12,239
Speaker 7: we considered, we argued about it, we thought about it

606
00:33:12,280 --> 00:33:12,760
Speaker 7: like crazy.

607
00:33:13,040 --> 00:33:15,320
Speaker 1: So I'm going to ask you a question, okay, because

608
00:33:16,640 --> 00:33:19,400
Speaker 1: I knew this was a parallel story with hip hop

609
00:33:19,440 --> 00:33:25,680
Speaker 1: and with with with this movement, how at what point

610
00:33:25,840 --> 00:33:29,880
Speaker 1: are you able to really relax and really not live

611
00:33:29,880 --> 00:33:35,720
Speaker 1: in fear of the the idea of quote unquote selling out,

612
00:33:36,440 --> 00:33:39,600
Speaker 1: you know, that that shadow following you, like the perception

613
00:33:39,720 --> 00:33:43,400
Speaker 1: of how we're Because the thing is is that knowing

614
00:33:43,440 --> 00:33:46,160
Speaker 1: what I know now and again because I worked backwards,

615
00:33:47,040 --> 00:33:49,440
Speaker 1: I'm like, yo, like you know, and you can even

616
00:33:49,440 --> 00:33:51,760
Speaker 1: tell them that like with the videos that you're doing

617
00:33:51,760 --> 00:33:54,000
Speaker 1: now and all that stuff, like the humor element and

618
00:33:54,120 --> 00:33:56,920
Speaker 1: all those things, that you're really showing your personalities. Whereas

619
00:33:57,520 --> 00:34:00,560
Speaker 1: once I went back to the beginning and realized, like oh, oh, okay,

620
00:34:00,720 --> 00:34:03,720
Speaker 1: it started off here and then you guys slowly blossomed

621
00:34:04,600 --> 00:34:09,600
Speaker 1: into this thing. I can imagine that the perception of

622
00:34:10,800 --> 00:34:14,960
Speaker 1: who you guys were as a group or trying to

623
00:34:14,960 --> 00:34:21,680
Speaker 1: present also probably played, you know, decisions made by the band.

624
00:34:21,840 --> 00:34:26,080
Speaker 1: And I always wanted to know, like how the perception

625
00:34:26,200 --> 00:34:30,840
Speaker 1: of being seen as sellouts or being too successful? Should

626
00:34:30,880 --> 00:34:35,960
Speaker 1: we do this commercial or should we signed to this label,

627
00:34:36,280 --> 00:34:39,000
Speaker 1: this major label, like will we be the same? Like

628
00:34:39,120 --> 00:34:44,799
Speaker 1: how important is that perception playing in the band at

629
00:34:44,840 --> 00:34:47,799
Speaker 1: that period? And you're at least for the first three

630
00:34:47,880 --> 00:34:48,360
Speaker 1: or four.

631
00:34:48,239 --> 00:34:50,840
Speaker 5: Records, it was huge.

632
00:34:50,880 --> 00:34:54,120
Speaker 2: I mean, I mean you were around during that time too.

633
00:34:54,160 --> 00:34:56,200
Speaker 2: I mean that it just was such a different beast.

634
00:34:56,360 --> 00:34:59,799
Speaker 2: You know, this idea that somehow, you know, a major

635
00:35:00,400 --> 00:35:04,520
Speaker 2: was going to you know, rob you of your artistic credibility,

636
00:35:04,560 --> 00:35:07,879
Speaker 2: that by aligning yourself with anything that was corporated or commercial,

637
00:35:08,440 --> 00:35:13,160
Speaker 2: you know, signified you know, something that was anti art uh,

638
00:35:13,480 --> 00:35:13,680
Speaker 2: you know.

639
00:35:13,719 --> 00:35:16,360
Speaker 5: And there were a lot of arguments.

640
00:35:15,920 --> 00:35:20,640
Speaker 2: Treaties, you know, books, zines, you know, and very lively

641
00:35:20,680 --> 00:35:24,399
Speaker 2: polemic and a lot of real anger, I think from

642
00:35:24,400 --> 00:35:28,799
Speaker 2: people that never really took into consideration how anyone grew

643
00:35:28,880 --> 00:35:31,200
Speaker 2: up in terms of you know, if they had money

644
00:35:31,200 --> 00:35:33,279
Speaker 2: and that, you know, like it just never. It was

645
00:35:33,280 --> 00:35:35,680
Speaker 2: not a very nuanced conversation, but it was very real

646
00:35:36,120 --> 00:35:39,200
Speaker 2: because you cared about your friends and to sort of admit,

647
00:35:39,800 --> 00:35:43,000
Speaker 2: you know, I want something more than I can get.

648
00:35:43,520 --> 00:35:46,839
Speaker 2: This route was really tricky, so we just we really

649
00:35:46,880 --> 00:35:49,760
Speaker 2: didn't consider it. And I was probably the most hard

650
00:35:49,840 --> 00:35:53,080
Speaker 2: line at the time. I was like the youngest, I

651
00:35:53,120 --> 00:35:56,040
Speaker 2: was the baby in the band, and I think Korn

652
00:35:56,239 --> 00:36:01,160
Speaker 2: was probably you probably were the most interesting, am I right?

653
00:36:01,320 --> 00:36:04,480
Speaker 6: No, Steel Magnolia is the termine years.

654
00:36:06,280 --> 00:36:08,319
Speaker 5: I was always my eyes were always on the.

655
00:36:08,280 --> 00:36:09,960
Speaker 6: Business route more than anyone else.

656
00:36:10,160 --> 00:36:11,920
Speaker 5: Yeah, she's good about that. But you know, there were

657
00:36:11,960 --> 00:36:13,200
Speaker 5: also these horror stories.

658
00:36:13,239 --> 00:36:16,000
Speaker 2: You know, you would for every band that had a

659
00:36:16,040 --> 00:36:18,960
Speaker 2: decent relationship with their A and R person, there was

660
00:36:19,000 --> 00:36:21,600
Speaker 2: someone that had signed to a major and been dropped,

661
00:36:21,760 --> 00:36:24,080
Speaker 2: you know, like a band like Spoon or like or

662
00:36:24,080 --> 00:36:27,319
Speaker 2: even coming from the Northwest, you see Nirvana, you see

663
00:36:27,520 --> 00:36:31,520
Speaker 2: this this guy that was tort supposedly, you know, tortured

664
00:36:31,520 --> 00:36:34,120
Speaker 2: by the fact that you know, he no longer felt

665
00:36:34,120 --> 00:36:36,240
Speaker 2: connected to who he was and his fans.

666
00:36:36,239 --> 00:36:38,160
Speaker 5: So there were all these cautionary tales.

667
00:36:38,640 --> 00:36:41,719
Speaker 1: So can I ask and you know, maybe you can

668
00:36:41,760 --> 00:36:44,040
Speaker 1: give me better insight because I never knew what happened

669
00:36:44,040 --> 00:36:46,560
Speaker 1: at the end of it is do you think this

670
00:36:46,640 --> 00:36:50,840
Speaker 1: is precisely the reason why Helmet didn't blow up, like

671
00:36:51,120 --> 00:36:54,080
Speaker 1: the perception of because the thing is from an outsider.

672
00:36:54,520 --> 00:36:58,080
Speaker 1: And again, my outsider status was more studied the stats,

673
00:36:58,560 --> 00:37:01,000
Speaker 1: learn the names, but I never got I never got

674
00:37:01,000 --> 00:37:03,320
Speaker 1: into the music. So as far as I knew, I

675
00:37:03,400 --> 00:37:07,360
Speaker 1: knew there was a band that every label was salivating

676
00:37:07,400 --> 00:37:09,960
Speaker 1: over and they gave them a seventh figure deal and

677
00:37:10,000 --> 00:37:11,279
Speaker 1: it was Helmet, and they were going to be the

678
00:37:11,320 --> 00:37:13,759
Speaker 1: next big thing, and then I didn't hear shit from them.

679
00:37:14,280 --> 00:37:18,719
Speaker 1: And what's really weird was that when my band got

680
00:37:18,719 --> 00:37:20,400
Speaker 1: approached by Geff and we were going to go to

681
00:37:20,440 --> 00:37:23,879
Speaker 1: a whole nother label, we were ready to sign, and

682
00:37:24,680 --> 00:37:27,759
Speaker 1: when Geffen came along, we were like, Okay, let's let's

683
00:37:28,200 --> 00:37:30,080
Speaker 1: pull a Helmet and see what happens. And we called

684
00:37:30,080 --> 00:37:33,520
Speaker 1: their bluff and called this big ass Argantua number and

685
00:37:33,560 --> 00:37:36,759
Speaker 1: they took it, and then it's like, oh shit. But

686
00:37:36,800 --> 00:37:39,600
Speaker 1: the difference is is like we never felt like, oh,

687
00:37:39,600 --> 00:37:42,160
Speaker 1: we're selling out because we're taking a seven figure deal.

688
00:37:42,200 --> 00:37:44,440
Speaker 1: It was like more like we made it out of

689
00:37:44,480 --> 00:37:47,720
Speaker 1: poverty like that sort of thing. So you know, people

690
00:37:47,719 --> 00:37:50,240
Speaker 1: were like, ah, y'all made it. That was the perception

691
00:37:50,320 --> 00:37:54,440
Speaker 1: of it. But I always wanted to know, with Helmet making,

692
00:37:54,640 --> 00:37:57,160
Speaker 1: you know, this this seventh figure deal and they're going

693
00:37:57,239 --> 00:38:00,680
Speaker 1: to be the next Nirvana, Like, did that effect their

694
00:38:00,800 --> 00:38:04,840
Speaker 1: fan base and the support from the Northwest from doing

695
00:38:04,880 --> 00:38:09,600
Speaker 1: such a lofty move as in grabbing the money.

696
00:38:09,680 --> 00:38:12,480
Speaker 5: In your opinion, I think it could be.

697
00:38:12,680 --> 00:38:15,640
Speaker 6: I think you could make an argument that people were turned.

698
00:38:15,400 --> 00:38:18,040
Speaker 1: Off by it, Okay, I see, I.

699
00:38:19,520 --> 00:38:21,600
Speaker 6: Don't know. I don't know I could I just at

700
00:38:21,600 --> 00:38:23,919
Speaker 6: the time, I think people.

701
00:38:23,719 --> 00:38:27,000
Speaker 7: Talked about it, and you know, and and there was

702
00:38:27,040 --> 00:38:30,080
Speaker 7: like an element of people kind of turning up their noses,

703
00:38:30,480 --> 00:38:30,719
Speaker 7: you know.

704
00:38:30,880 --> 00:38:35,839
Speaker 2: Okay, so yeah, yeah, But I also think there was

705
00:38:35,920 --> 00:38:39,040
Speaker 2: such a it was such a time of anti pop,

706
00:38:39,160 --> 00:38:42,799
Speaker 2: you know, anti sheen, and things were so compartmentalized genre wise,

707
00:38:42,840 --> 00:38:45,480
Speaker 2: so it was like, you know, a band like Helmet

708
00:38:45,640 --> 00:38:48,640
Speaker 2: or jaw Box, who also you know, was a DC

709
00:38:48,800 --> 00:38:51,120
Speaker 2: band that went signed to a major. You know, these

710
00:38:51,120 --> 00:38:53,759
Speaker 2: were these bands that were sort of admired for like

711
00:38:53,880 --> 00:38:56,840
Speaker 2: their roughness, you know, Helmet, with their cool like corrosive

712
00:38:56,880 --> 00:38:59,440
Speaker 2: sounding guitars, and like this grit and.

713
00:38:59,360 --> 00:39:01,800
Speaker 5: Then they get a bun to money. And at the time,

714
00:39:01,880 --> 00:39:02,320
Speaker 5: of course.

715
00:39:02,200 --> 00:39:03,960
Speaker 2: They're gonna go they're gonna work with a better producer,

716
00:39:03,960 --> 00:39:05,720
Speaker 2: they're going to work in a better studio, they're probably

717
00:39:05,719 --> 00:39:10,239
Speaker 2: gonna have nicer like equipment. And that's like, at the time,

718
00:39:10,360 --> 00:39:12,879
Speaker 2: was anathema to what people wanted to hear. Now people

719
00:39:12,960 --> 00:39:15,040
Speaker 2: might be like, oh, that's that's cool, like you know,

720
00:39:15,080 --> 00:39:19,279
Speaker 2: they're borrowing, you know, from other styles of music, or

721
00:39:19,440 --> 00:39:20,880
Speaker 2: you know, it has a little bit more of a

722
00:39:20,920 --> 00:39:23,360
Speaker 2: sparkle to it. But at the time that was like, oh,

723
00:39:23,400 --> 00:39:26,319
Speaker 2: there we go. We have evidence that that and and

724
00:39:26,360 --> 00:39:27,680
Speaker 2: that just went't happen today.

725
00:39:28,320 --> 00:39:32,680
Speaker 1: Well, I do have a theory about it's less about that.

726
00:39:33,360 --> 00:39:38,560
Speaker 1: I get worried when people start upgrading, you know, probably

727
00:39:38,600 --> 00:39:41,720
Speaker 1: in the hip hop sense of that, you know, the Riza.

728
00:39:42,640 --> 00:39:45,840
Speaker 1: The reason why like hip hop fans hang on so

729
00:39:45,960 --> 00:39:50,200
Speaker 1: tightly to those very first six Wu Tang records is

730
00:39:50,239 --> 00:39:53,480
Speaker 1: because you know they were made the lower the folklore

731
00:39:53,480 --> 00:39:56,239
Speaker 1: of Wu Tang, the fact that he created this in

732
00:39:56,320 --> 00:40:00,719
Speaker 1: his projects in Stapleton projects in Staten Island, and it

733
00:40:00,800 --> 00:40:03,680
Speaker 1: was a very dirty, dusty sound, and you know that

734
00:40:04,360 --> 00:40:06,960
Speaker 1: it got flooded out, and then of course you know,

735
00:40:07,120 --> 00:40:10,200
Speaker 1: the Wu Tang blew up, and then he upgraded, and

736
00:40:10,239 --> 00:40:15,200
Speaker 1: then they made their second album like in Los Angeles,

737
00:40:15,200 --> 00:40:19,840
Speaker 1: living in Beverly Hills, and the sound changed. It's too clean.

738
00:40:20,280 --> 00:40:22,680
Speaker 1: Same thing for Prince Prince making his stuff in his bedroom.

739
00:40:23,480 --> 00:40:25,440
Speaker 1: It's like the most perfect stuff in the world. Like,

740
00:40:25,520 --> 00:40:28,680
Speaker 1: I love that sound. But the second he upgraded and

741
00:40:28,840 --> 00:40:31,040
Speaker 1: got Paisley Park or whatever, and then the sound just,

742
00:40:31,760 --> 00:40:35,279
Speaker 1: you know, it sounded more vagacy to me and not

743
00:40:35,560 --> 00:40:42,920
Speaker 1: like raw, and so I get worried when people upgrade,

744
00:40:43,320 --> 00:40:47,319
Speaker 1: so which I guess that's probably the same perception that

745
00:40:47,360 --> 00:40:51,120
Speaker 1: the sound changes or whatnot. So by the time you

746
00:40:51,239 --> 00:40:55,560
Speaker 1: guys get past Me Out and like get to like

747
00:40:55,760 --> 00:40:59,040
Speaker 1: the hot rock or whatever. I mean, at what point

748
00:40:59,120 --> 00:41:03,200
Speaker 1: are you guys even thinking of like changing your sound

749
00:41:03,760 --> 00:41:08,800
Speaker 1: or trying new ideas. And how comfortable were you into

750
00:41:08,800 --> 00:41:13,160
Speaker 1: making that pivot from where you were when you first

751
00:41:13,200 --> 00:41:13,880
Speaker 1: started the band.

752
00:41:15,280 --> 00:41:15,920
Speaker 5: I feel like.

753
00:41:17,400 --> 00:41:20,240
Speaker 2: We always I think I think that was the moment

754
00:41:20,360 --> 00:41:25,120
Speaker 2: that was exactly the moment that we made our first pivot,

755
00:41:25,200 --> 00:41:28,439
Speaker 2: that it just there was no way to repeat dig

756
00:41:28,480 --> 00:41:31,839
Speaker 2: Me Out like it had just come from such a

757
00:41:31,840 --> 00:41:34,840
Speaker 2: place of forcefulness that there's just no way to relax

758
00:41:34,840 --> 00:41:36,640
Speaker 2: to that record, Like it just starts on ten and

759
00:41:36,800 --> 00:41:40,200
Speaker 2: ends on ten and it just has this you know,

760
00:41:40,400 --> 00:41:45,080
Speaker 2: this catharsis and it's just like, yeah, it's a long

761
00:41:45,239 --> 00:41:49,520
Speaker 2: kind of scream with some you know, different iterations. And

762
00:41:49,560 --> 00:41:52,160
Speaker 2: with the Hot Rock, we just knew we couldn't repeat

763
00:41:52,200 --> 00:41:54,879
Speaker 2: dig Me Out. We just knew like this, we can't

764
00:41:54,920 --> 00:41:58,239
Speaker 2: be part two. So I think we just created like

765
00:41:58,320 --> 00:42:01,719
Speaker 2: this much more introspective of landscape. And I think that

766
00:42:01,800 --> 00:42:04,600
Speaker 2: set us up correctly because people could not you know,

767
00:42:04,600 --> 00:42:06,480
Speaker 2: at the time, like you're saying, like critics were much

768
00:42:06,520 --> 00:42:09,239
Speaker 2: more there was. It was more centralized in terms of

769
00:42:09,280 --> 00:42:11,839
Speaker 2: like the power of like a critic, so that we

770
00:42:11,880 --> 00:42:13,799
Speaker 2: just didn't want them to say, like it's dig Me Out,

771
00:42:13,880 --> 00:42:17,680
Speaker 2: but not as good or not as intense, and so

772
00:42:17,719 --> 00:42:18,480
Speaker 2: we made the Hot Rock.

773
00:42:19,480 --> 00:42:25,560
Speaker 1: I will also say that I have an envy for

774
00:42:25,920 --> 00:42:29,239
Speaker 1: artists that have the ability to really get their point

775
00:42:29,280 --> 00:42:34,000
Speaker 1: out and under like two minutes. Like again, if I'm

776
00:42:34,080 --> 00:42:38,120
Speaker 1: given the space to create like a gargantuan, you know,

777
00:42:38,200 --> 00:42:42,160
Speaker 1: twelve minute art song, like I'm that guy, But if

778
00:42:42,160 --> 00:42:44,279
Speaker 1: you only give me two minutes to do something, and

779
00:42:44,320 --> 00:42:48,319
Speaker 1: I can't and the fact that, especially like your debut album,

780
00:42:48,400 --> 00:42:51,000
Speaker 1: like half the songs are like under you know, it's

781
00:42:51,000 --> 00:42:53,760
Speaker 1: like average length is like two minutes and ten seconds

782
00:42:53,840 --> 00:42:58,240
Speaker 1: or whatever. I mean. Is anyone teaching you about song structure?

783
00:42:58,360 --> 00:43:01,680
Speaker 1: Are you guys like purposely taken from like the Ramones

784
00:43:01,719 --> 00:43:04,000
Speaker 1: handbook or it's just like, Okay, the average punk song

785
00:43:04,080 --> 00:43:08,080
Speaker 1: has to be under this length to get so much

786
00:43:08,120 --> 00:43:11,319
Speaker 1: information out like lyrically and all that content wise, and

787
00:43:11,480 --> 00:43:14,160
Speaker 1: under such a short period of time, Like that's that's

788
00:43:14,200 --> 00:43:16,600
Speaker 1: almost a gift. But did it come from a place

789
00:43:16,640 --> 00:43:18,960
Speaker 1: where you guys purposely wanted to structure it like that

790
00:43:19,280 --> 00:43:22,640
Speaker 1: or you know, or is it that as you got

791
00:43:22,680 --> 00:43:25,719
Speaker 1: further along in the recording process, then you guys are

792
00:43:25,760 --> 00:43:28,880
Speaker 1: realizing that like, oh well, there's space for a bridge here,

793
00:43:29,120 --> 00:43:32,200
Speaker 1: or maybe a guitar solo there, or like stretch out

794
00:43:32,200 --> 00:43:34,920
Speaker 1: the songs make them longer. But you know, like for

795
00:43:34,960 --> 00:43:37,239
Speaker 1: your first two albums, like the length of both of

796
00:43:37,280 --> 00:43:39,839
Speaker 1: them were definitely under a half hour. I think your

797
00:43:39,840 --> 00:43:42,920
Speaker 1: first album is at least twenty minutes. So just talk

798
00:43:42,960 --> 00:43:45,640
Speaker 1: about like the at least the songwriting process of how

799
00:43:45,680 --> 00:43:49,120
Speaker 1: you guys in the beginning were writing songs as opposed

800
00:43:49,160 --> 00:43:52,480
Speaker 1: to really getting in the rhythm of presenting these songs's

801
00:43:52,520 --> 00:43:55,680
Speaker 1: the what's your work mode when you're creating songs.

802
00:43:56,880 --> 00:43:59,239
Speaker 6: I think that so much of it was.

803
00:44:00,880 --> 00:44:05,480
Speaker 7: Instinctual and jamming and and honestly, at the beginning, there

804
00:44:05,600 --> 00:44:10,480
Speaker 7: wasn't a lot of even dialogue about like how can

805
00:44:10,520 --> 00:44:13,560
Speaker 7: we make this song better? It was just like, you know,

806
00:44:13,640 --> 00:44:16,120
Speaker 7: Carrie would start playing something. She'd play a riff and

807
00:44:16,160 --> 00:44:18,560
Speaker 7: I'd be like, keep playing that, you know, and and

808
00:44:18,640 --> 00:44:20,200
Speaker 7: start singing a vocal over it.

809
00:44:20,480 --> 00:44:20,680
Speaker 3: You know.

810
00:44:20,800 --> 00:44:25,160
Speaker 7: She's so much more of like a like a like

811
00:44:25,200 --> 00:44:28,640
Speaker 7: a melody writer with guitar, and I was like, I like,

812
00:44:28,719 --> 00:44:31,600
Speaker 7: go off of my vocal when I'm writing, Like, that's

813
00:44:31,640 --> 00:44:35,160
Speaker 7: where the music comes from for me for the most part,

814
00:44:35,280 --> 00:44:37,680
Speaker 7: and I'm just trying to get I'm trying to start

815
00:44:37,719 --> 00:44:41,319
Speaker 7: a story and get a melody that is.

816
00:44:41,280 --> 00:44:44,000
Speaker 6: Compelling and follow it down.

817
00:44:45,040 --> 00:44:47,160
Speaker 7: And so there wasn't a lot of That's why I

818
00:44:47,280 --> 00:44:49,600
Speaker 7: think the songs are so short is because they're they

819
00:44:49,600 --> 00:44:50,680
Speaker 7: are almost like poems.

820
00:44:50,680 --> 00:44:52,680
Speaker 6: When they worked well, I thought.

821
00:44:53,120 --> 00:44:56,400
Speaker 1: Do you start with the lyrics or or music first?

822
00:44:56,480 --> 00:44:59,759
Speaker 1: Like what's your comfort zone? When when a song comes

823
00:44:59,800 --> 00:45:00,280
Speaker 1: to you.

824
00:45:01,320 --> 00:45:05,880
Speaker 7: It's it's the it's the vocals, it's the melody, just

825
00:45:05,920 --> 00:45:08,040
Speaker 7: gibberish usually at the.

826
00:45:07,960 --> 00:45:11,880
Speaker 5: Beginning, yeah, of course, and then it's always.

827
00:45:11,520 --> 00:45:13,640
Speaker 7: Just going back and back and making them try and

828
00:45:13,640 --> 00:45:16,360
Speaker 7: make the lyrics better and better, you know.

829
00:45:17,120 --> 00:45:17,480
Speaker 6: Usually.

830
00:45:22,560 --> 00:45:26,880
Speaker 1: I do want to know what was the decision on

831
00:45:27,000 --> 00:45:29,440
Speaker 1: the Hot Rock Also, that's the one album that that

832
00:45:29,520 --> 00:45:32,680
Speaker 1: John didn't produce with you guys, what was the decision

833
00:45:32,719 --> 00:45:36,160
Speaker 1: to not work with him? I forget who produced the

834
00:45:36,360 --> 00:45:37,359
Speaker 1: Hot Rock record, But.

835
00:45:38,200 --> 00:45:40,440
Speaker 2: Yeah, it was this guy, Roger Mutino, who had worked

836
00:45:40,480 --> 00:45:47,760
Speaker 2: with a band from Hoboken, Yola Tango. Okay, yeah, and

837
00:45:47,760 --> 00:45:51,120
Speaker 2: and Yola Tango. We're definitely having a moment at the

838
00:45:51,160 --> 00:45:54,080
Speaker 2: time that they were people who we really admired, and

839
00:45:54,680 --> 00:45:57,320
Speaker 2: you know, we were like, who produced the last Yelatango record?

840
00:45:57,360 --> 00:46:00,439
Speaker 2: And for us, you know, again it was were trying

841
00:46:00,480 --> 00:46:02,839
Speaker 2: to get outside of our comfort zone. And John had

842
00:46:02,920 --> 00:46:05,120
Speaker 2: gone to the same college as all of us, and

843
00:46:05,440 --> 00:46:07,200
Speaker 2: you know, he had worked with Bikini Kill and he

844
00:46:07,440 --> 00:46:09,959
Speaker 2: you know, it was just like, what if we brought

845
00:46:09,960 --> 00:46:13,880
Speaker 2: in someone from a slightly different world and he he

846
00:46:14,040 --> 00:46:16,640
Speaker 2: was he lived in Nashville, and you know, Yola Tanga

847
00:46:16,680 --> 00:46:18,279
Speaker 2: was kind of an anomaly for him, he worked with

848
00:46:18,320 --> 00:46:21,799
Speaker 2: a lot more singer songwriters, and he definitely approached our

849
00:46:21,800 --> 00:46:24,200
Speaker 2: band a lot differently. There's not a lot of it's

850
00:46:24,239 --> 00:46:26,880
Speaker 2: not a very distorted record in terms of guitars. He

851
00:46:27,000 --> 00:46:31,439
Speaker 2: really you know, was I just remember you know, he yeah,

852
00:46:31,440 --> 00:46:33,040
Speaker 2: it's a lot cleaner, and he was just like he

853
00:46:33,239 --> 00:46:36,000
Speaker 2: just loved Korn. Janet and I were just like, oh, yeah,

854
00:46:36,360 --> 00:46:38,880
Speaker 2: Like he just was like, oh, Korn, Korn krant and

855
00:46:39,680 --> 00:46:43,920
Speaker 2: it was yeah, and which is fine, but we had

856
00:46:43,960 --> 00:46:46,480
Speaker 2: just never been treated like that. And but you know,

857
00:46:46,719 --> 00:46:49,040
Speaker 2: it's it wasn't the first or it was the first time.

858
00:46:49,080 --> 00:46:51,080
Speaker 2: It definitely wasn't the last time where someone like singles

859
00:46:51,080 --> 00:46:52,920
Speaker 2: someone out. But it was just funny because you know,

860
00:46:53,000 --> 00:46:55,120
Speaker 2: usually you're like, no, we're a band, and he was like,

861
00:46:55,440 --> 00:46:56,080
Speaker 2: now Korn.

862
00:46:56,200 --> 00:46:57,680
Speaker 5: I loved that. I loved that.

863
00:47:01,760 --> 00:47:04,960
Speaker 2: But we really liked working with Roger. But it was

864
00:47:05,040 --> 00:47:07,080
Speaker 2: just it was different, and I'm glad we did something different.

865
00:47:08,080 --> 00:47:12,360
Speaker 1: I'm also you know, curious about the group dynamic, especially

866
00:47:12,440 --> 00:47:19,440
Speaker 1: with a group with a legacy is yours. How important

867
00:47:19,600 --> 00:47:24,560
Speaker 1: is it to maintain a personal friendship in lieu the

868
00:47:24,600 --> 00:47:28,719
Speaker 1: fact that you guys are also having a business, Like

869
00:47:29,040 --> 00:47:32,040
Speaker 1: I went through a period where like we started out

870
00:47:32,040 --> 00:47:35,600
Speaker 1: as best friends and then somewhere by the third record,

871
00:47:35,680 --> 00:47:38,839
Speaker 1: then it's like we're just business partners, and then all right,

872
00:47:38,920 --> 00:47:42,000
Speaker 1: two tour buses and then I'll see you at the

873
00:47:42,040 --> 00:47:46,120
Speaker 1: gig and then you know, like we're I'll say, in

874
00:47:46,120 --> 00:47:48,920
Speaker 1: the last three years, like Treak and I really like

875
00:47:49,000 --> 00:47:52,480
Speaker 1: getting back to us really being friends again and not

876
00:47:52,600 --> 00:47:57,000
Speaker 1: just about business. But how can you how do you

877
00:47:57,200 --> 00:48:01,560
Speaker 1: balance that when you're also businessiness partners and friends? Like

878
00:48:01,600 --> 00:48:04,759
Speaker 1: how do you how's that balanced? Or is it just

879
00:48:04,800 --> 00:48:07,040
Speaker 1: like on the off season or was it why that

880
00:48:07,160 --> 00:48:09,800
Speaker 1: nine year hiatus happened?

881
00:48:11,320 --> 00:48:13,799
Speaker 7: I mean I think that, you know, like we were

882
00:48:13,840 --> 00:48:16,719
Speaker 7: saying at the beginning, it feels like we've been on

883
00:48:16,960 --> 00:48:22,960
Speaker 7: a journey, right, and I feel like sometimes we've balanced things,

884
00:48:23,440 --> 00:48:26,239
Speaker 7: you know, like dig me out. We were all so young,

885
00:48:26,280 --> 00:48:28,600
Speaker 7: but we were figuring all that kind of stuff out.

886
00:48:28,719 --> 00:48:31,040
Speaker 7: How do we how are we in a band? How

887
00:48:31,040 --> 00:48:33,960
Speaker 7: are we friends? How are we running our own business?

888
00:48:34,520 --> 00:48:37,000
Speaker 7: How's it like worked really well? And sometimes it didn't?

889
00:48:37,320 --> 00:48:37,520
Speaker 7: You know.

890
00:48:38,800 --> 00:48:41,520
Speaker 2: Yeah, I think similar to what you're saying, Amra's like,

891
00:48:41,880 --> 00:48:45,440
Speaker 2: it's it's shifted, you know, And I think there was

892
00:48:45,480 --> 00:48:50,480
Speaker 2: a time I think where we didn't intentionally you know,

893
00:48:50,840 --> 00:48:53,319
Speaker 2: care for it, like you know, nurture it, because you

894
00:48:53,400 --> 00:48:54,880
Speaker 2: just kind of assume, well, we can, we can do

895
00:48:54,920 --> 00:48:57,520
Speaker 2: all this. We can we'll be friends and we'll run

896
00:48:57,600 --> 00:48:59,960
Speaker 2: this business. But I think the business party you start

897
00:49:00,080 --> 00:49:03,520
Speaker 2: to realize, well, that has its own like politics to it,

898
00:49:03,560 --> 00:49:06,920
Speaker 2: and sometimes those do not overlap really well, and you

899
00:49:07,000 --> 00:49:10,319
Speaker 2: have to kind of protect both. And as friends you're like, oh,

900
00:49:10,320 --> 00:49:11,960
Speaker 2: why are we favoring the business? You know, You're like,

901
00:49:12,000 --> 00:49:13,799
Speaker 2: which one are we favoring in that moment, and that

902
00:49:13,880 --> 00:49:16,640
Speaker 2: can get really volatile. I think when we came back

903
00:49:16,640 --> 00:49:18,960
Speaker 2: after the hiatus, and we did we all kept in

904
00:49:19,000 --> 00:49:22,839
Speaker 2: touch during that time, was it an.

905
00:49:22,760 --> 00:49:26,560
Speaker 1: Actual conversation like we should take a break and an

906
00:49:26,560 --> 00:49:28,800
Speaker 1: indefinite break, like do we take off for five years

907
00:49:28,880 --> 00:49:32,000
Speaker 1: or let's take off for a decade or well?

908
00:49:32,080 --> 00:49:36,480
Speaker 2: I think Ian Mackay from Ugazia he claims he invented

909
00:49:36,480 --> 00:49:40,680
Speaker 2: the term hiatus or indefinite hiatus, and I wilso I'll

910
00:49:40,680 --> 00:49:42,680
Speaker 2: just give him credit for that. But I think we

911
00:49:42,760 --> 00:49:45,959
Speaker 2: just use that term because we weren't sure. I think

912
00:49:46,000 --> 00:49:49,400
Speaker 2: we thought we were done right korin didn't. It felt

913
00:49:49,640 --> 00:49:52,520
Speaker 2: kind of like we were done. I didn't think so,

914
00:49:52,880 --> 00:49:54,600
Speaker 2: oh we'll see here we go.

915
00:49:53,960 --> 00:49:59,200
Speaker 1: So after the last gig, like was it like okay,

916
00:49:59,239 --> 00:50:02,600
Speaker 1: we'll talk or you know when we went on how

917
00:50:02,680 --> 00:50:04,560
Speaker 1: you do? I think the Woods. The Woods was the

918
00:50:04,960 --> 00:50:07,960
Speaker 1: last album of that period. So after the end of

919
00:50:08,000 --> 00:50:10,160
Speaker 1: The Woods and I'm assuming that you tore it behind

920
00:50:10,200 --> 00:50:13,160
Speaker 1: it or not, I think, yeah, it was it was

921
00:50:13,160 --> 00:50:18,560
Speaker 1: the Woods. Yeah, then what like what happened a month

922
00:50:18,640 --> 00:50:21,360
Speaker 1: later or just a year or two go by and

923
00:50:21,360 --> 00:50:23,640
Speaker 1: you're like, oh shit, we haven't wrote a written a

924
00:50:23,680 --> 00:50:27,600
Speaker 1: song in a second or I'm gonna do no, it.

925
00:50:27,480 --> 00:50:30,920
Speaker 6: Was like right, or I got pregnant.

926
00:50:31,880 --> 00:50:39,360
Speaker 1: That's also okay, I totally forgot that motherhood also play Yeah.

927
00:50:39,200 --> 00:50:43,200
Speaker 5: Korin was going to have another baby and I was.

928
00:50:43,560 --> 00:50:46,840
Speaker 2: I anxiety like ruled my life back then, like it

929
00:50:47,040 --> 00:50:50,920
Speaker 2: just and I just had a ton of Yeah. I

930
00:50:50,920 --> 00:50:54,759
Speaker 2: mean we all know people who have anxiety. Like now

931
00:50:54,800 --> 00:50:56,880
Speaker 2: that I feel like that part of my life is

932
00:50:56,920 --> 00:50:59,799
Speaker 2: in check, I can see the amount of energy it

933
00:51:00,040 --> 00:51:03,839
Speaker 2: takes to be around someone that has totally like unmitigated

934
00:51:03,880 --> 00:51:06,759
Speaker 2: anxiety because you're just always you have to like suppress

935
00:51:07,000 --> 00:51:10,200
Speaker 2: all your own shit. Yeah, so that they can like

936
00:51:10,239 --> 00:51:11,799
Speaker 2: figure shit out, And I think that was kind of

937
00:51:11,840 --> 00:51:13,880
Speaker 2: me in the band. You know, everyone was like, oh gosh,

938
00:51:14,160 --> 00:51:16,000
Speaker 2: you know, Carrie's dealing with all this stuff, and so

939
00:51:16,360 --> 00:51:18,359
Speaker 2: I think everyone was like, this is not worth it.

940
00:51:18,440 --> 00:51:19,640
Speaker 5: You know. Korn's like, if I'm.

941
00:51:19,520 --> 00:51:22,920
Speaker 2: Going to leave one kid and be on tour, have

942
00:51:22,920 --> 00:51:24,920
Speaker 2: to bring a kid on tour, this better be worth it,

943
00:51:25,360 --> 00:51:28,319
Speaker 2: you know. And it just it was a natural breaking point,

944
00:51:28,360 --> 00:51:30,880
Speaker 2: I think. So we were not like sitting around like

945
00:51:31,239 --> 00:51:33,160
Speaker 2: waiting to write other songs. It was like, we're done.

946
00:51:34,320 --> 00:51:36,960
Speaker 8: How did you you talk about your anxiety and kind

947
00:51:37,000 --> 00:51:38,040
Speaker 8: of working through that?

948
00:51:38,320 --> 00:51:40,360
Speaker 1: How did you work through those struggles?

949
00:51:40,520 --> 00:51:43,880
Speaker 5: I mean, honestly, I went to therapy. I just I

950
00:51:44,000 --> 00:51:44,440
Speaker 5: just did it.

951
00:51:44,480 --> 00:51:47,640
Speaker 2: I just went and I was like I need help

952
00:51:47,680 --> 00:51:51,960
Speaker 2: with this, you know, and I just worked some stuff

953
00:51:52,000 --> 00:51:55,160
Speaker 2: out that felt like it was kind of you know,

954
00:51:55,280 --> 00:51:57,719
Speaker 2: anxiety I think is just such a classic flip side

955
00:51:57,719 --> 00:52:00,200
Speaker 2: to depression. And when you start realizing that really you're

956
00:52:00,239 --> 00:52:04,520
Speaker 2: just expressing like fear and sadness in a way that's

957
00:52:04,520 --> 00:52:07,239
Speaker 2: like much more outward, you know, you start kind of

958
00:52:07,280 --> 00:52:09,880
Speaker 2: getting through it. And now, I mean, Corn, you can testify,

959
00:52:09,960 --> 00:52:11,160
Speaker 2: I'm like, I'm way more chill.

960
00:52:11,760 --> 00:52:13,600
Speaker 6: Way more chill.

961
00:52:13,120 --> 00:52:17,520
Speaker 7: And that's part of like how we work through being

962
00:52:17,760 --> 00:52:21,680
Speaker 7: friends and business partners is because we both worked on

963
00:52:21,760 --> 00:52:25,759
Speaker 7: stuff on our own before we said like, let's play

964
00:52:25,840 --> 00:52:26,760
Speaker 7: music together again.

965
00:52:26,880 --> 00:52:30,239
Speaker 6: It's like we actually did some stuff, did some growing up.

966
00:52:31,000 --> 00:52:34,120
Speaker 1: Wait, I have a theory. I know we're going to

967
00:52:34,200 --> 00:52:35,880
Speaker 1: have to let you go soon, and I want to

968
00:52:35,920 --> 00:52:38,200
Speaker 1: get to the end. I'm trying to like rush through

969
00:52:38,239 --> 00:52:40,680
Speaker 1: each record. But I have a theory, all right. So

970
00:52:40,719 --> 00:52:47,840
Speaker 1: when I started doing my the deep dive you carry

971
00:52:48,160 --> 00:52:51,680
Speaker 1: your book came out when twenty sixteen.

972
00:52:51,800 --> 00:52:53,719
Speaker 2: Yeah, say it was a year after year books. I

973
00:52:53,760 --> 00:52:55,200
Speaker 2: remember we did those co interviews.

974
00:52:55,280 --> 00:52:57,880
Speaker 1: Yeah, those things together. Okay, So I always had a

975
00:52:57,920 --> 00:53:04,200
Speaker 1: theory that whenever I gravitate towards a particular album and

976
00:53:04,239 --> 00:53:09,440
Speaker 1: someone's cannon, it's always the wrong album I gravitate towards

977
00:53:09,680 --> 00:53:14,879
Speaker 1: like I love Hot Rocks by the Stones, I love

978
00:53:14,960 --> 00:53:17,840
Speaker 1: rat On hum By YouTube, Like I'm always picking the

979
00:53:17,880 --> 00:53:21,880
Speaker 1: wrong damn album and their thing. And I'm afraid what

980
00:53:22,040 --> 00:53:25,960
Speaker 1: is Because again, all of your albums are critically acclaimed,

981
00:53:25,960 --> 00:53:29,200
Speaker 1: but for you personally, what is your feeling behind one?

982
00:53:29,200 --> 00:53:32,000
Speaker 1: Because I really loved of all your records, one Beat

983
00:53:32,120 --> 00:53:35,200
Speaker 1: was my favorite, but what is the like I want

984
00:53:35,200 --> 00:53:37,360
Speaker 1: to know if I chose the wrong album or not.

985
00:53:37,560 --> 00:53:40,120
Speaker 1: Like in terms of like when people come to me

986
00:53:40,160 --> 00:53:42,239
Speaker 1: and say, yo, man, I love the Tipping Point, I'm like,

987
00:53:42,239 --> 00:53:43,840
Speaker 1: I fucking hate the Tipping Point.

988
00:53:43,719 --> 00:53:43,879
Speaker 7: So.

989
00:53:45,600 --> 00:53:50,160
Speaker 1: I feel uncomfortable. But like with one beat in your

990
00:53:50,280 --> 00:53:52,120
Speaker 1: or at least in your canon, what do you feel

991
00:53:52,239 --> 00:53:55,480
Speaker 1: that your your best work that represents you?

992
00:53:55,680 --> 00:53:58,680
Speaker 3: Is you think like an artist is just gonna cop

993
00:53:58,719 --> 00:54:00,719
Speaker 3: to the record they don't like the most? Do you

994
00:54:00,719 --> 00:54:04,040
Speaker 3: think like YouTube wrote YouTube like rattled Home sucks like

995
00:54:04,160 --> 00:54:06,160
Speaker 3: or whatever it is like talk.

996
00:54:06,080 --> 00:54:10,520
Speaker 1: About about rattling hum Okay in hindsight, no, no, no, I

997
00:54:10,560 --> 00:54:13,359
Speaker 1: still stand by it. But I usually when I talk

998
00:54:13,440 --> 00:54:16,560
Speaker 1: to fellow music snobs when it comes to my rock shit,

999
00:54:16,880 --> 00:54:19,960
Speaker 1: like I like Presents by Zeppelin when I should be

1000
00:54:20,040 --> 00:54:24,080
Speaker 1: liking Physical Graffiti, but for some reason, I always liked that.

1001
00:54:24,239 --> 00:54:27,080
Speaker 1: I like three minus three, that's my favorite. But that's

1002
00:54:27,160 --> 00:54:29,880
Speaker 1: classic right because that was also a departure record, So

1003
00:54:29,920 --> 00:54:32,920
Speaker 1: I'm not saying the departure record. But in your canon,

1004
00:54:33,760 --> 00:54:39,520
Speaker 1: what do you feel is your favorite? No, what is

1005
00:54:39,560 --> 00:54:41,760
Speaker 1: your favorite and what do you feel your departure record?

1006
00:54:45,200 --> 00:54:50,040
Speaker 7: I mean one is one of my favorites because it's it's.

1007
00:54:49,880 --> 00:54:51,480
Speaker 1: Like I'm growing up then.

1008
00:54:51,760 --> 00:54:57,279
Speaker 7: Yeah, it's because it's like such a record of it's

1009
00:54:57,320 --> 00:54:58,160
Speaker 7: so emotional.

1010
00:54:58,320 --> 00:55:00,879
Speaker 6: It was when I was right after I had my son.

1011
00:55:01,040 --> 00:55:05,480
Speaker 7: So a lot of the songs are about like that experience,

1012
00:55:05,520 --> 00:55:10,680
Speaker 7: about joy and about like the fear of you know,

1013
00:55:10,880 --> 00:55:13,279
Speaker 7: having this thing that you love more than anything in

1014
00:55:13,320 --> 00:55:14,640
Speaker 7: this kind of dangerous world.

1015
00:55:16,080 --> 00:55:20,640
Speaker 2: Okay, Yeah, I think when we definitely stand by one

1016
00:55:20,719 --> 00:55:23,600
Speaker 2: Beat for years, it was the album before that, All

1017
00:55:23,640 --> 00:55:25,760
Speaker 2: Hands on the Bad One that I think we would.

1018
00:55:27,239 --> 00:55:29,440
Speaker 2: I mean, it's hard to assess because it was definitely

1019
00:55:29,440 --> 00:55:31,480
Speaker 2: the first album where there was I think Rolling Stone

1020
00:55:31,520 --> 00:55:36,120
Speaker 2: called it the dog Biscuit of our of our catalog. Wow,

1021
00:55:36,160 --> 00:55:39,320
Speaker 2: And I remember just looking at those words dog biscuit.

1022
00:55:39,360 --> 00:55:40,400
Speaker 2: I was like, wow, that's harsh.

1023
00:55:41,080 --> 00:55:45,080
Speaker 1: How important is the critical claim to you? Not, you know,

1024
00:55:45,200 --> 00:55:48,359
Speaker 1: like having a like a perfect report card, Like are

1025
00:55:48,400 --> 00:55:51,040
Speaker 1: you obsessed with keeping it on that level?

1026
00:55:51,719 --> 00:55:54,000
Speaker 2: No? Because we we we blew it up on the

1027
00:55:54,080 --> 00:55:56,839
Speaker 2: on the last two records, people were like, oh this now,

1028
00:55:57,000 --> 00:55:59,200
Speaker 2: that's I mean, you know the Saint Vincent record that

1029
00:55:59,280 --> 00:56:04,759
Speaker 2: she produced for uh, that's our definite departure record. I

1030
00:56:04,840 --> 00:56:07,520
Speaker 2: like it too, and I think it's funny because now

1031
00:56:07,680 --> 00:56:08,399
Speaker 2: people like it.

1032
00:56:08,400 --> 00:56:09,759
Speaker 5: It took it, you know, it took the year and

1033
00:56:09,800 --> 00:56:10,760
Speaker 5: a half or two years.

1034
00:56:10,880 --> 00:56:12,319
Speaker 2: I mean, I think people liked it at the time,

1035
00:56:12,360 --> 00:56:14,440
Speaker 2: but it might not have been the same people that

1036
00:56:14,560 --> 00:56:16,560
Speaker 2: liked dig Me out of One Beat. Like, we got

1037
00:56:16,560 --> 00:56:18,239
Speaker 2: a lot of new fans on the last record, and

1038
00:56:18,239 --> 00:56:19,960
Speaker 2: we have got a lot of new fans on this

1039
00:56:20,000 --> 00:56:22,400
Speaker 2: record too, but the people that it was a.

1040
00:56:22,480 --> 00:56:25,200
Speaker 1: Very experimental record. Yeah, well you guys came on the

1041
00:56:25,200 --> 00:56:27,480
Speaker 1: show to promote, Like, yeah, I was, I was into it.

1042
00:56:27,640 --> 00:56:29,200
Speaker 1: I was going to ask what was it like working

1043
00:56:29,280 --> 00:56:30,080
Speaker 1: with Saint Vincent.

1044
00:56:31,280 --> 00:56:33,399
Speaker 6: She was great. We learned so much from her.

1045
00:56:33,480 --> 00:56:38,840
Speaker 7: I mean, she's so, she's so she approaches a song

1046
00:56:38,880 --> 00:56:42,080
Speaker 7: and songwriting with such a like a larger vision.

1047
00:56:42,719 --> 00:56:42,920
Speaker 6: You know.

1048
00:56:43,040 --> 00:56:45,799
Speaker 7: She she'll go in and and just you know, take

1049
00:56:45,800 --> 00:56:47,600
Speaker 7: a vocal part that I was doing and like a.

1050
00:56:47,520 --> 00:56:49,440
Speaker 6: Certain register and be like, well what if you bump

1051
00:56:49,440 --> 00:56:50,440
Speaker 6: it up to octaves?

1052
00:56:50,480 --> 00:56:53,200
Speaker 1: And I was like, wow, push yourself.

1053
00:56:54,520 --> 00:56:55,960
Speaker 5: Yeah, she's such a maximalist.

1054
00:56:56,000 --> 00:56:57,479
Speaker 2: And I think, you know, like you were talking about

1055
00:56:57,480 --> 00:56:59,640
Speaker 2: our early material, like there was there's a lot of

1056
00:56:59,680 --> 00:57:01,560
Speaker 2: minimal there. There was a lot of just this kind

1057
00:57:01,600 --> 00:57:06,080
Speaker 2: of like raw stripped back, you know, essence to the band,

1058
00:57:06,120 --> 00:57:08,640
Speaker 2: and I think she just she created this density in

1059
00:57:08,680 --> 00:57:10,960
Speaker 2: there that I thought was interesting. You know for us,

1060
00:57:11,040 --> 00:57:14,200
Speaker 2: that's a new thing to explore. It's a different way

1061
00:57:14,200 --> 00:57:15,640
Speaker 2: to get out some of the emotionality.

1062
00:57:17,240 --> 00:57:23,120
Speaker 1: Okay, so with the Path of Wellness. Of course, this

1063
00:57:23,200 --> 00:57:30,280
Speaker 1: is your first album without Janet and the band. So

1064
00:57:31,440 --> 00:57:35,720
Speaker 1: first of all, what was the process like creating an album,

1065
00:57:36,480 --> 00:57:39,040
Speaker 1: you know, in the face of the apocalypse. I'm curious

1066
00:57:39,040 --> 00:57:42,560
Speaker 1: about anybody that's in a creative space like that starts

1067
00:57:42,560 --> 00:57:45,440
Speaker 1: their process like around June July or whatever like. So

1068
00:57:46,640 --> 00:57:50,440
Speaker 1: he explained that the process of creating this record, especially

1069
00:57:50,520 --> 00:57:53,960
Speaker 1: the fact that I would assume that you guys started

1070
00:57:53,960 --> 00:57:58,080
Speaker 1: in you know, somewhere in twenty twenty, where's your headspace?

1071
00:57:58,120 --> 00:58:01,120
Speaker 1: And how are you not or were you using the

1072
00:58:01,240 --> 00:58:04,640
Speaker 1: energy of the panic of the world to create this album?

1073
00:58:05,920 --> 00:58:07,880
Speaker 2: I mean a little of both. And we actually started

1074
00:58:07,920 --> 00:58:10,520
Speaker 2: it so it we were supposed to go on tour

1075
00:58:10,560 --> 00:58:14,240
Speaker 2: with Wilco last summer and you know, it was like

1076
00:58:14,280 --> 00:58:16,479
Speaker 2: the end of the touring cycle for the Center Hold.

1077
00:58:16,520 --> 00:58:19,240
Speaker 2: So it's you know, those like secondary tertiary markets were

1078
00:58:19,560 --> 00:58:24,600
Speaker 2: just like amphitheaters, in the summer. Yeah, yeah, the Shed tour,

1079
00:58:25,160 --> 00:58:28,120
Speaker 2: and so we were imagining we started writing some songs,

1080
00:58:28,480 --> 00:58:31,880
Speaker 2: thinking like, oh well, maybe like road test some new material,

1081
00:58:31,920 --> 00:58:35,000
Speaker 2: and it had this like very sort of like outdoors

1082
00:58:35,080 --> 00:58:37,840
Speaker 2: feel like it was like we're making music to connect

1083
00:58:37,840 --> 00:58:42,120
Speaker 2: with people in this in this like collective spaces, sunny days,

1084
00:58:42,160 --> 00:58:44,280
Speaker 2: and then all of a sudden it was like the pandemic.

1085
00:58:44,320 --> 00:58:48,880
Speaker 2: But we still had I think musically something left over

1086
00:58:48,960 --> 00:58:51,480
Speaker 2: from that feeling. So I think we started in a

1087
00:58:51,520 --> 00:58:54,200
Speaker 2: place where the music felt like it was trying to

1088
00:58:54,280 --> 00:58:59,680
Speaker 2: imagine like togetherness, but then we were in this like

1089
00:58:59,720 --> 00:59:05,720
Speaker 2: claw strophobic, fearful, insular space, you know, with so much

1090
00:59:07,240 --> 00:59:10,640
Speaker 2: strife up front of different kinds going on around us,

1091
00:59:10,760 --> 00:59:14,800
Speaker 2: you know, from protests to force you know, wildfires to

1092
00:59:15,320 --> 00:59:18,480
Speaker 2: the pandemic itself, and so you get this kind of

1093
00:59:18,520 --> 00:59:23,120
Speaker 2: like narrow, like very I don't know, just kind of

1094
00:59:23,880 --> 00:59:26,280
Speaker 2: these lyrics that are like trying to wrestle with all

1095
00:59:26,320 --> 00:59:30,480
Speaker 2: these things over music that has I think some lyft

1096
00:59:30,520 --> 00:59:32,320
Speaker 2: to it. So it's a little bit of like a

1097
00:59:33,360 --> 00:59:35,720
Speaker 2: I don't know, two things kind of meeting in the center.

1098
00:59:36,240 --> 00:59:36,840
Speaker 5: What do you think you.

1099
00:59:36,760 --> 00:59:41,400
Speaker 1: Guys currently are in Portland right now or yeah, yeah,

1100
00:59:42,080 --> 00:59:45,200
Speaker 1: what exactly is going on in Portland right now? Where

1101
00:59:45,200 --> 00:59:49,680
Speaker 1: it's like it's a side of Portland I never knew existed,

1102
00:59:50,640 --> 00:59:53,960
Speaker 1: like politically, Like just what's been going on the last

1103
00:59:54,040 --> 00:59:57,920
Speaker 1: year and a half? Is it still happening? Like can

1104
00:59:58,000 --> 01:00:01,320
Speaker 1: you just basically explain like what the environment is like

1105
01:00:01,400 --> 01:00:01,920
Speaker 1: there now?

1106
01:00:03,160 --> 01:00:08,320
Speaker 7: I think unfortunately, it's still pretty tense, you know, like

1107
01:00:09,480 --> 01:00:17,120
Speaker 7: in terms of protesting and the different groups that are

1108
01:00:17,240 --> 01:00:20,880
Speaker 7: drawn to Portland. I mean we have this we have

1109
01:00:20,920 --> 01:00:25,400
Speaker 7: a police force that is out of date and I'll

1110
01:00:25,400 --> 01:00:27,320
Speaker 7: put it wildly, they're very out of date and how

1111
01:00:27,320 --> 01:00:32,120
Speaker 7: they're doing things right. We have these very radical left

1112
01:00:32,160 --> 01:00:37,600
Speaker 7: wing protesters, and we also have this very rural white

1113
01:00:38,040 --> 01:00:41,840
Speaker 7: conservative group that loves to come into Portland and just

1114
01:00:41,920 --> 01:00:46,640
Speaker 7: cause trouble. So we still have a lot of these

1115
01:00:46,680 --> 01:00:50,440
Speaker 7: different factions going on. So it's it's we still have

1116
01:00:50,480 --> 01:00:52,360
Speaker 7: a lot of work to do here.

1117
01:00:52,920 --> 01:00:54,720
Speaker 2: Yeah, I think there's I mean there was definitely a

1118
01:00:54,720 --> 01:00:57,440
Speaker 2: reckoning like there there was in many cities, and you

1119
01:00:57,440 --> 01:01:02,440
Speaker 2: know there are groups here like don't shoot PDX and

1120
01:01:02,480 --> 01:01:05,400
Speaker 2: care not cops that have been working for you know,

1121
01:01:05,600 --> 01:01:08,960
Speaker 2: racial justice and you know, to get rid of like

1122
01:01:09,520 --> 01:01:14,240
Speaker 2: dismantle like the police the way policing is now for years,

1123
01:01:14,320 --> 01:01:16,560
Speaker 2: you know. And then of course that coalesced with the

1124
01:01:16,600 --> 01:01:20,280
Speaker 2: George Floyd, Breonna Taylor protests and the BLM movement, and

1125
01:01:20,320 --> 01:01:22,600
Speaker 2: that was what was happening last summer. But then you

1126
01:01:22,720 --> 01:01:27,240
Speaker 2: also had a faction that we're not really aligned with

1127
01:01:27,240 --> 01:01:29,760
Speaker 2: that that were just there to like function up. And

1128
01:01:29,840 --> 01:01:32,320
Speaker 2: so there's the people that are still kind of protesting,

1129
01:01:33,360 --> 01:01:37,520
Speaker 2: tend to be not in the BLM movement, tend to

1130
01:01:37,600 --> 01:01:40,360
Speaker 2: just be a little more in the Antifa thing. And

1131
01:01:40,400 --> 01:01:44,080
Speaker 2: it's not that I disagree with everything Antifa stands for,

1132
01:01:44,240 --> 01:01:47,200
Speaker 2: but it is it's the city is has a long

1133
01:01:47,240 --> 01:01:49,440
Speaker 2: way to go, I think, for like figuring out how

1134
01:01:49,440 --> 01:01:53,040
Speaker 2: to coalesce some of these ideas and actually make progress.

1135
01:01:53,120 --> 01:01:55,440
Speaker 2: But luckily there are people who have been working at

1136
01:01:55,480 --> 01:01:58,800
Speaker 2: us for a while that hopefully will kind of have

1137
01:01:58,920 --> 01:02:01,080
Speaker 2: their voice heard now that I think are hopefully having

1138
01:02:01,280 --> 01:02:04,560
Speaker 2: a platform to make changes. But yeah, I mean, I'm

1139
01:02:04,600 --> 01:02:07,120
Speaker 2: sure people have been calling anyone I know that lives

1140
01:02:07,160 --> 01:02:09,560
Speaker 2: in Portland, had everyone like texting them like what is

1141
01:02:09,600 --> 01:02:10,000
Speaker 2: going on?

1142
01:02:10,240 --> 01:02:12,120
Speaker 5: It just seemed so crazy for a while.

1143
01:02:12,440 --> 01:02:14,440
Speaker 1: Yeah, I was shocked. I was like, well, I had

1144
01:02:14,440 --> 01:02:17,800
Speaker 1: to readjust my list all right, before I let you go, Carrie,

1145
01:02:17,800 --> 01:02:20,880
Speaker 1: I got to ask you have you met her yet?

1146
01:02:21,400 --> 01:02:25,439
Speaker 2: No? Okay, let's retall. Let's recall when we were on

1147
01:02:26,720 --> 01:02:27,400
Speaker 2: the Tonight Show.

1148
01:02:27,840 --> 01:02:29,360
Speaker 1: How could you waste such an opportunity?

1149
01:02:29,640 --> 01:02:31,760
Speaker 2: I know, but that was so stressful because remember she

1150
01:02:31,920 --> 01:02:35,880
Speaker 2: was running late, Yeah, she was running late, and then.

1151
01:02:36,160 --> 01:02:40,240
Speaker 1: And who Okay, so you know there's there's a special

1152
01:02:40,280 --> 01:02:45,439
Speaker 1: place in Carrie's art for Madonna the twelve years old

1153
01:02:45,440 --> 01:02:48,880
Speaker 1: and Carrie is you know, and you know at the

1154
01:02:48,960 --> 01:02:53,320
Speaker 1: time when we signed and changed, well not changed to

1155
01:02:53,360 --> 01:02:57,680
Speaker 1: our management when Rich passed and we sort of merged

1156
01:02:57,720 --> 01:03:01,880
Speaker 1: to Maverick management. Of course, you know, guys was running

1157
01:03:01,920 --> 01:03:06,360
Speaker 1: it and kind of you're down with guy, then you

1158
01:03:07,000 --> 01:03:10,080
Speaker 1: might be down with Madge as well. So, knowing how

1159
01:03:10,240 --> 01:03:12,160
Speaker 1: much of a fan that carry was, I was like, well,

1160
01:03:12,200 --> 01:03:16,440
Speaker 1: I gotta make this shit happen, because you know, the

1161
01:03:16,480 --> 01:03:19,560
Speaker 1: group was on the show when Madonna was the couch guest,

1162
01:03:19,920 --> 01:03:23,080
Speaker 1: and so even in touring, like you guys were touring

1163
01:03:23,080 --> 01:03:25,560
Speaker 1: in Australia whatever, and I found out she was there too,

1164
01:03:25,600 --> 01:03:26,920
Speaker 1: and I no.

1165
01:03:27,000 --> 01:03:30,360
Speaker 5: You hooked us up. It was That was a great night.

1166
01:03:30,360 --> 01:03:32,320
Speaker 2: We went and saw her in a tiny club that

1167
01:03:32,480 --> 01:03:34,920
Speaker 2: was the best, and so I that's all I want you.

1168
01:03:35,080 --> 01:03:37,200
Speaker 5: I'm already delivered. I'm so grateful.

1169
01:03:37,480 --> 01:03:39,280
Speaker 1: So you are you one of those people that like

1170
01:03:39,400 --> 01:03:41,000
Speaker 1: you don't want to meet your idols.

1171
01:03:42,120 --> 01:03:45,760
Speaker 2: I mean, I'm fine with that proximity going to You're

1172
01:03:45,800 --> 01:03:46,680
Speaker 2: satisfied with this.

1173
01:03:48,040 --> 01:03:51,200
Speaker 5: You have more than delivered. I am. I'm grateful. I

1174
01:03:51,200 --> 01:03:52,800
Speaker 5: don't know what else we could do at this point.

1175
01:03:53,880 --> 01:03:56,240
Speaker 1: Yeah, it could be anti club acted. I get it.

1176
01:03:56,280 --> 01:03:59,360
Speaker 1: I get it. I was reading Carrie.

1177
01:03:59,400 --> 01:04:03,440
Speaker 8: A good buddy of mine, buddy, Craig Jenkins, he interviewed

1178
01:04:03,480 --> 01:04:05,880
Speaker 8: you guys last it was last year. It was for

1179
01:04:05,960 --> 01:04:08,760
Speaker 8: the for the for the new record, and you were

1180
01:04:08,760 --> 01:04:11,560
Speaker 8: at the interview. You're talking about a Heart documentary or

1181
01:04:11,600 --> 01:04:13,560
Speaker 8: not a documentary. I guess the Anne Wilson.

1182
01:04:13,920 --> 01:04:14,760
Speaker 5: Oh, the biopick.

1183
01:04:14,920 --> 01:04:18,960
Speaker 1: Yeah, yes, biopick. Yeah, where's that at? What's the status

1184
01:04:18,960 --> 01:04:19,200
Speaker 1: on it?

1185
01:04:19,280 --> 01:04:20,840
Speaker 5: We're casting right now.

1186
01:04:20,920 --> 01:04:23,200
Speaker 2: And as I was telling, as I was telling Greg,

1187
01:04:23,520 --> 01:04:26,720
Speaker 2: it is so hard because I mean, you say the

1188
01:04:26,720 --> 01:04:29,480
Speaker 2: word biopick and everyone, like any music fan, just like

1189
01:04:29,560 --> 01:04:32,320
Speaker 2: braces themselves because they're like, oh god, you.

1190
01:04:32,280 --> 01:04:33,320
Speaker 5: Know there's there's a line.

1191
01:04:33,440 --> 01:04:35,680
Speaker 2: Yeah, there's some great examples, and there's some ones where

1192
01:04:35,680 --> 01:04:37,480
Speaker 2: you're just like, how did they cast this person?

1193
01:04:37,960 --> 01:04:40,160
Speaker 5: This is not about music, but I.

1194
01:04:40,080 --> 01:04:43,600
Speaker 2: Wrote it, and you know, I hopefully it's a different

1195
01:04:43,680 --> 01:04:46,880
Speaker 2: perspective because I've come up in the Northwest, Like I

1196
01:04:47,440 --> 01:04:49,640
Speaker 2: love writing about music. I'm trying to make it for

1197
01:04:50,000 --> 01:04:52,479
Speaker 2: music fans as much as for movie fans. But we're

1198
01:04:52,480 --> 01:04:54,720
Speaker 2: casting and we've got to get it right. So that's

1199
01:04:54,720 --> 01:04:55,280
Speaker 2: where it's at.

1200
01:04:55,400 --> 01:04:57,760
Speaker 1: That's so dope. Good luck. Wait, I got one more

1201
01:04:57,840 --> 01:05:01,440
Speaker 1: last one before we go. Did I not hear a

1202
01:05:01,520 --> 01:05:07,160
Speaker 1: rumor that you were considering of turning your uh your

1203
01:05:07,200 --> 01:05:10,400
Speaker 1: book into a series, a TV series.

1204
01:05:10,160 --> 01:05:13,560
Speaker 2: Or I tried, I made You've got so far as

1205
01:05:13,600 --> 01:05:15,400
Speaker 2: to make the pilot and then and then the network

1206
01:05:15,440 --> 01:05:16,200
Speaker 2: didn't pick it up.

1207
01:05:16,320 --> 01:05:17,280
Speaker 1: Wait, there's a pilot.

1208
01:05:17,640 --> 01:05:20,520
Speaker 5: Yeah, I'll send it to you. It was cool. But

1209
01:05:20,680 --> 01:05:23,200
Speaker 5: I'm anyway, I'm.

1210
01:05:22,680 --> 01:05:25,560
Speaker 2: Excited for you because you've got this amazing movie coming out.

1211
01:05:26,480 --> 01:05:31,080
Speaker 2: It's coming coming right, Okay, fine, but anyway.

1212
01:05:31,560 --> 01:05:34,040
Speaker 1: Yeah, it comes out, it comes out July second, and

1213
01:05:34,160 --> 01:05:34,840
Speaker 1: I'm excited.

1214
01:05:34,960 --> 01:05:36,080
Speaker 5: So we're excited.

1215
01:05:36,440 --> 01:05:38,800
Speaker 1: I'm not I'm not trying to deflect. Wow, how could

1216
01:05:38,800 --> 01:05:42,840
Speaker 1: you pitch your own movie on I mean what the heck,

1217
01:05:46,000 --> 01:05:48,720
Speaker 1: cool man, Trust me, That's why I got Disney for.

1218
01:05:49,440 --> 01:05:51,040
Speaker 1: I like to thank you for coming on the show.

1219
01:05:51,080 --> 01:05:54,960
Speaker 1: I appreciate it, and you know I'm I'm an admirer

1220
01:05:55,120 --> 01:05:58,320
Speaker 1: of of of of you guys and and and your band,

1221
01:05:58,440 --> 01:06:01,240
Speaker 1: and thank you for blessing on this on the show,

1222
01:06:01,320 --> 01:06:07,040
Speaker 1: Ladies and gentlemen, Sleeper, Kidney or Quest Left Supreme U. Bill, Yes, sir,

1223
01:06:08,080 --> 01:06:11,840
Speaker 1: congratulations on your success as well. And we're all successful.

1224
01:06:11,880 --> 01:06:14,440
Speaker 2: It's fantastic, Tony Well, it's been an honor to be

1225
01:06:14,520 --> 01:06:19,040
Speaker 2: on this show with you, you know, and with all

1226
01:06:19,080 --> 01:06:19,200
Speaker 2: of you.

1227
01:06:19,320 --> 01:06:21,760
Speaker 5: Thank you, Yeah, thank you for hanging out with us.

1228
01:06:21,760 --> 01:06:26,440
Speaker 1: This is fun, all right, Sugar, Steve, Bill, and La.

1229
01:06:27,120 --> 01:06:28,600
Speaker 1: This is Quest Love and we'll see you in the

1230
01:06:28,640 --> 01:06:29,280
Speaker 1: next go round.

1231
01:06:31,240 --> 01:06:33,920
Speaker 9: Hey, this is Sugar Steed. Make sure you keep up

1232
01:06:33,920 --> 01:06:37,120
Speaker 9: with us on Instagram at q l S and let

1233
01:06:37,240 --> 01:06:39,520
Speaker 9: us know what you think and who should be next

1234
01:06:39,560 --> 01:06:43,120
Speaker 9: to sit down with us. Don't forget to subscribe to

1235
01:06:43,240 --> 01:06:44,280
Speaker 9: our podcast.

1236
01:06:47,000 --> 01:06:52,320
Speaker 1: West Love Supreme is a production of Ihearted Radio. For

1237
01:06:52,440 --> 01:06:55,560
Speaker 1: more podcasts from iHeart Radio, visit the iHeart Radio app,

1238
01:06:55,760 --> 01:06:58,800
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.