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Speaker 1: This episode is also available as video on YouTube. You

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Speaker 1: can visit Nora Jones channel and be sure.

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Speaker 2: To subscribe while you're there.

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Speaker 1: Hey, I'm Nora Jones and today I'm playing along with

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Speaker 1: Alison Russell.

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Speaker 3: I'm just playing long Weezy.

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Speaker 2: I'm just playing lone Weezy. Hi, I'm Nora. This is Sarah.

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Speaker 2: Welcome to the show.

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Speaker 4: Today we have Grammy winning singer, songwriter, actor, multi instrumentalist,

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Speaker 4: and human rights advocate Alison Russell. In twenty twenty four,

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Speaker 4: she made her Broadway debut, starring as Persephone in the

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Speaker 4: Tony winning musical Hades Town.

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Speaker 2: I saw it. She was amazing.

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Speaker 4: She released her new EP, Rainbows earlier this year, and

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Speaker 4: just last week she released her third studio album called

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Speaker 4: In the Hour of Chaos, which also features a song

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Speaker 4: that you collaborated with her on called Really Real.

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Speaker 2: Yes.

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Speaker 1: So we do that song in the episode today, and

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Speaker 1: I think I recorded it with her right after we

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Speaker 1: recorded this episode. I first met her when we were

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Speaker 1: on Willie Nelson's ninetieth birthday celebration at the Hollywood Bowl.

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Speaker 1: We sang seven Spanish angels together, which was one of

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Speaker 1: my favorites.

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Speaker 2: I love that song, one of my favorite duets to

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Speaker 2: do with her.

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Speaker 4: Yeah, that song was so beautiful. I love that song.

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Speaker 4: It's so good.

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Speaker 2: Yeah.

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Speaker 4: She's going to be on tour with Sarah McLaughlin in

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Speaker 4: July and August, and then she's going to start her

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Speaker 4: headline tour in October, so be sure to find tickets

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Speaker 4: and check her out.

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Speaker 1: Yes, this episode's really fun. We do a really special

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Speaker 1: cover at the end, so I hope you enjoy it.

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Speaker 1: There is some spicy language in this episode, so listener

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Speaker 1: discretion is advised.

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Speaker 2: It's not that bad, but just so you know it's there.

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Speaker 3: Super love.

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Speaker 5: Tears, a rage, tears of grief, Palestine, Israel to Tennessee.

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Speaker 5: We need a super love, need a souper love, double

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Speaker 5: ditch and wo loops, all our.

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Speaker 2: Fears and loops and loops.

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Speaker 3: We need a super a you souper loveinaty so cold?

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Speaker 3: Who asess the doll who dragged us?

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Speaker 6: Now have the gown?

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Speaker 3: Who keeps a candle for the limitor.

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Speaker 7: Who cap lizy You're heart?

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Speaker 8: Please let me die before my child played every mother?

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Speaker 8: Fall and why that's a super love.

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Speaker 3: I'm a super lovel you can hear me and fall.

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Speaker 9: It fades the moon and.

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Speaker 3: Blinds the stars. That's a super love. We are super love.

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Speaker 7: Oh soup cours.

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Speaker 6: Cold who on the streets, the dun.

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Speaker 3: Who dreampt us and all the God who kissed the

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Speaker 3: candle lit for them.

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Speaker 7: Who care can floss in your.

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Speaker 10: Believe what you will believe. They're gonna tell you it's

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Speaker 10: name to be the super lover. We are super loves.

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Speaker 3: There's no god a firing love.

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Speaker 8: If there's a god, then God is loved. We need

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Speaker 8: a super long We can't be super love.

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Speaker 6: The night so cold, who among us streams the God.

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Speaker 9: Who jumped us?

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Speaker 6: No, have a girl.

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Speaker 3: Who keeps the countle it for that time.

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Speaker 7: Cold cal.

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Speaker 9: Fly your hed.

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Speaker 5: Tears, rage tears Greef Palestine. It is real to tennessee tears,

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Speaker 5: rage tears a Greek pud Congo to hate tears, rage

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Speaker 5: tears and grief Ukraine to bed to d c.

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Speaker 2: We need a super.

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Speaker 3: We can be super love.

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Speaker 2: Yeah, it's beautiful. That was so pretty. Oh my god,

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Speaker 2: I love that song. Thank you. That's so it's such

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Speaker 2: a joy to sing it with you. It's such an honor,

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Speaker 2: oh truly, to hear you on it. It's so beautiful.

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Speaker 2: It sounds so beautiful. Thank you. That's my new song. Yes,

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Speaker 2: the the version with Annie Lennox is gonna I don't

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Speaker 2: know when this comes out. This will come out after that.

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Speaker 2: After that. It's coming out soon, like in a few weeks,

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Speaker 2: in March twenty fifth. So Annie Lennox sings on the recording. Yeah,

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Speaker 2: that is amazing. It was so she sounds so good.

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Speaker 2: Doesn't she sound extraordinary? She sounds amazing. She sounds extraordinary.

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Speaker 2: Did you get to record together? You know, we recorded

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Speaker 2: that separately, but we got to sing it together. We

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Speaker 2: did a little video for it. Oh wow, So we

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Speaker 2: got to sing it together, you know, for this video,

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Speaker 2: and I mean it's the recording, but we we got

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Speaker 2: to sing live in the room together. And that's amazing fun.

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Speaker 2: I bet her voice in a room acoustically is insane.

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Speaker 2: She sounds so beautiful, you know. And I got to

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Speaker 2: know her and to meet her through Joni jam So

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Speaker 2: because of our beautiful sister Brandy Carlisle, who is a

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Speaker 2: magical unicorn of goodness and joy and has brought so

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Speaker 2: much just magic into my life and my family's life.

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Speaker 2: She brings the people together, It really really does, she

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Speaker 2: really does. And she's super intuitive and she's very like

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Speaker 2: mischievous and funny, so she did not when I met

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Speaker 2: Annie was actually we did Joni jam at the Gorge.

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Speaker 2: This was we're tacking Joni Mitchell, Joanni Mitchell, Joni Mitchell.

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Speaker 4: We did.

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Speaker 2: The first one that we did was at Newport and

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Speaker 2: it was that was like it was a surprise Joni

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Speaker 2: Mitchell closing set at Newport and that was in twenty two.

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Speaker 2: I think I remember seeing that. Yeah, it was, it was.

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Speaker 2: It was the most magical and incredible thing, and Joni

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Speaker 2: had so much fun that she wanted to do another show,

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Speaker 2: so we The next thing that we did was the Gorge.

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Speaker 2: And I am lucky enough to in Joni Mitchell's band.

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Speaker 2: I play clarinet and I sing backups. How fun and

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Speaker 2: it's so much fun and I'm the only other Canadian actually,

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Speaker 2: oh really, John regularly, that's right. Sarah McLaughlin has joined

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Speaker 2: us a couple of times, but she's not she's not

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Speaker 2: there always. And this particular one at the Gorge, Brandy,

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Speaker 2: we always rehearse the whole band rehearses before Jonie gets there,

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Speaker 2: just to make sure like we have it together when

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Speaker 2: she gets there. So it sounds great when she arrives

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Speaker 2: and she doesn't get exhausted doing things over and over again.

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Speaker 2: And Brandy will sing Jonie's parts and her parts, which

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Speaker 2: is awesome. Yeah, it's incredible, and she impersonates. But she said, Okay,

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Speaker 2: you're gonna sit back here with Annie and Sarah, and

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Speaker 2: I was like, okay, cool. And I assumed they were

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Speaker 2: like Jonie's nurse's aids, or maybe like occupational therapists, because

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Speaker 2: at Joni Jahm, we make the stage look as much

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Speaker 2: like Johnie's living room as we can, and like her

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Speaker 2: friends come sometimes her, some of her family members sit

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Speaker 2: on stage, or some of her caregivers sit on stage.

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Speaker 2: Just still, she's comfortable Annie and Sarah and I'm like, okay, cool,

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Speaker 2: Annie and Sarah and we're in rehearsal and then out

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Speaker 2: walks Annie Lennox and Sarah McLaughlin and I look over

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Speaker 2: at Brandy and she's kind of smirky at me, you know,

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Speaker 2: like she mess Yeah, completely undone, I am, because these

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Speaker 2: are two of my biggest musical heroes. That's so beautiful. Yeah,

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Speaker 2: But then Annie and I became buds. You know, she

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Speaker 2: seems like a cool person, so lovely, she so lovely

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Speaker 2: and She's so grounded and funny and and loves She

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Speaker 2: feels the same way you know, for for Brandy and

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Speaker 2: I and I don't know if this is like this

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Speaker 2: for you, but Joni is such a north star as

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Speaker 2: a writer, as you know, how to be sort of

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Speaker 2: fearless and a truth teller. And it's the same for Annie.

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Speaker 2: Annie heard Joni for the first time. She was nineteen,

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Speaker 2: and it was Ladies of the Canyon. You know, someone

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Speaker 2: brought it home to her. She was laughing talking about

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Speaker 2: living in this living in total poverty and with eight roommates,

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Speaker 2: and someone brought home this record. Wow, and it was

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Speaker 2: revelatory to her, and suddenly she was like, I'm going

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Speaker 2: to write songs. So she was as giddy as you were.

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Speaker 2: She was as giddy as I was. So you were

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Speaker 2: kind of leveled. We were we were we were like, sweet,

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Speaker 2: I'm in awe of her, but we're both in off

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Speaker 2: Jonie's were like, Okay, what a special thing. Yeah, yeah,

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Speaker 2: I watched some of that online. It was so beautiful,

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Speaker 2: so so so joyful, and Jonie's having so much fun. Well,

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Speaker 2: I think that's when you get older. I think that's

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Speaker 2: what keeps you going. Yeah, you got to do something fun.

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Speaker 2: You got to do fun things. And people will talk

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Speaker 2: about retiring, but I think for musicians there's a bad,

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Speaker 2: bad move you there's.

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Speaker 9: No such thing.

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Speaker 2: Yeah, And for her it really like it's been such

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Speaker 2: a big part of her recovery. It's been such a motivator. Yeah,

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Speaker 2: it's a motivator and it helps people make it. Yeah.

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Speaker 2: It's a goal. Yeah and true and so special. She

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Speaker 2: sounded so incredible good she's getting every time we do it,

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Speaker 2: she gets stronger, and it's throughout the show. I mean,

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Speaker 2: I remember at Newport, none of us knew, you know,

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Speaker 2: if she would be able to sing through the set.

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Speaker 2: Everyone was ready to kind of sing to her, Like

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Speaker 2: the way the Jonie jams started were really people gathering

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Speaker 2: in her living room and singing to her, you know,

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Speaker 2: to show just their love of her and her song.

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Speaker 2: And you know, Brandy's talked about how nerve wracking. It

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Speaker 2: was like like singing Joni too, Joe, of course, but

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Speaker 2: then what got it started. That's what started it. And

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Speaker 2: then she started singing more and people would present their

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Speaker 2: songs to her, and you know, like I've I've gotten

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Speaker 2: to be in Jonie's living room and she's been like

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Speaker 2: playing me a song, and you know, I have to

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Speaker 2: like play one of my songs to her, and it's terrifying,

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Speaker 2: you know, it's so fun and it becomes more normalized

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Speaker 2: and just sort of like a community community. And she

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Speaker 2: got she just gained strength from it, and you see

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Speaker 2: you hear it throughout the show. I mean at Newport.

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Speaker 2: There's a record of that, you know. It was It's

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Speaker 2: Joni Live at Newport and she won her she won

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Speaker 2: a Grammy for that and Folk Best Folk Album Grammy.

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Speaker 2: And but you can hear her gaining strength throughout the show,

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Speaker 2: you know, and she loves It's such circle work with

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Speaker 2: the audience, and she's delighting in it. She's delighting in

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Speaker 2: the interaction with the audience, she's delighting in the interactions

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Speaker 2: with the other musicians on stage, and she's gaining strength

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Speaker 2: from it. And I hear that from performance to performance

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Speaker 2: as well. And by the time we did Hollywood Bowl

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Speaker 2: last year, we did two nights and she played three

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Speaker 2: hours each night, and she was leading the band. She

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Speaker 2: was changing setless up until like half an hour before Jonnie,

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Speaker 2: and she was singing lead on everything, like it went

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Speaker 2: from other people kind of sharing lead with her to

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Speaker 2: her like she's in charge. That's amazing, and we're following her.

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Speaker 2: And she was doing like Magdalen laundries and deep cuts

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Speaker 2: from her own catalog that she was choosing because she

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Speaker 2: felt like it in the moment. You know, is she

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Speaker 2: able to play guitar anymore? Yes, she started playing again,

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Speaker 2: and she started playing piano again. That's amazing. And actually

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Speaker 2: she started she relearned how to play, you know, just

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Speaker 2: like this train. Watching herself on YouTube, she was like,

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Speaker 2: I had to figure out to watch her. How did

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Speaker 2: I do that? I did it this way. Can you

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Speaker 2: imagine having to learn everything? It's I mean they she

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Speaker 2: had to learn how to walk and talk again. Yeah,

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Speaker 2: I don't know if I like, you don't think you

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Speaker 2: can do that, but then you do, like I think

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Speaker 2: you would. I think if you if I raised an

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Speaker 2: aneurysm like she did and had to come back from it,

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Speaker 2: you would and it would be music that called you

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Speaker 2: back to you, because that's what that's what calls a

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Speaker 2: musician back. I know it does. It's beautiful. Yeah, please

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Speaker 2: tell me about your instrument. This is a banjo and

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Speaker 2: it's a daring, good time Americana banjo so it's got

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Speaker 2: I think it's like a thirteen inch head, but I

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Speaker 2: have converted it to make it sound as much like

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Speaker 2: a minstrel fretless banjo as I can. Let's call a

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Speaker 2: kilan mell gut strings and this is it's a banjo head,

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Speaker 2: to make it sound as much like you know, goat

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Speaker 2: skin as it can. But it's actually synthetic because of

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Speaker 2: course I tour and I go through different temperatures and

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Speaker 2: altitudes and all of that, and you like to put

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Speaker 2: it through the amp always I do. I put it

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Speaker 2: through usually a Fender Princeton reverb because I'm always trying

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Speaker 2: to make it sound as much like Pop Staples guitar

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Speaker 2: as I can, which is like a completely failing project.

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Speaker 2: But I would say I'm the life I attempted. I

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Speaker 2: think it's a worthy goal. It's that's incredible.

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Speaker 1: I had Mava's Staples on that podcast and she told

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Speaker 1: me a really funny story about Pop Staples meeting Elvis

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Speaker 1: for the first time for the only time, I think,

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Speaker 1: and Elvis said.

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Speaker 2: Oh, hey, yeah, I like you. You got that nervous guitar.

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Speaker 2: It's isn't that funny? That's how we described I said

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Speaker 2: that was so funny, so beautiful. Yeah, oh my god,

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Speaker 2: Well I love it. I love the sound of it.

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Speaker 2: It also has a Willie vibe with the nylon strings.

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Speaker 2: Am yeah, Willie Nelson with his yea, his nylon string

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Speaker 2: guitar with yeah, I love Yeah. There's something about the

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Speaker 2: more harmonic overtones I can sort of chase around the

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Speaker 2: happier I am. Yeah, so yeah, I love it. Yeah.

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Speaker 2: Are you excited about your new album? I am, And

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Speaker 2: I mean I'm always excited to put new music out

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Speaker 2: into the world, to have excuses to collaborate with people.

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Speaker 2: And are there a lot of collaborations. There's some collaborations,

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Speaker 2: and there's you know, I'm always collaborating with my ensemble.

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Speaker 2: I mean, we loosely call ourselves the Rainbow Coalition, which

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Speaker 2: is yes, definitely a nod to the Black Panthers and

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Speaker 2: the Young Lords and the Young Patriots of the sixties,

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Speaker 2: collaborating and harm reducing together in Chicago and around the

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Speaker 2: world eventually, but it's always the whole being greater than

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Speaker 2: the sum of the parts, you know, it's always very much.

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Speaker 2: I'm never telling anyone what to play. I wouldn't dream

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Speaker 2: of it, you know, I'm so lucky like Wendy and

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Speaker 2: Lisa A on this record beautiful. You know you're going

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Speaker 2: to be on this Yeah, you're going to say I'm

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Speaker 2: going to say on this record and some other fun

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Speaker 2: guests and it's it's always just That's my favorite part

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Speaker 2: of making music is the collaboration and what happens that

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Speaker 2: you couldn't imagine on your own, and you can never

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Speaker 2: you could never dictate it. It just has to happen

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Speaker 2: same here. It's my favorite part and I love that.

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Speaker 2: That's my favorite part. That's why I'm so bad at practicing.

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Speaker 3: Yeah, because I can't practice.

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Speaker 2: Sorry, I just want to be with somebody doing it.

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Speaker 2: You know I'm the same, Yeah, are you? I feel

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Speaker 2: the same way. You know, I will do things like

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Speaker 2: I'll practice. Lately, I've been trying to practice my clarinet

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Speaker 2: to get better at like I don't know if translating

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Speaker 2: what I hear through my hand, because it's always the

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Speaker 2: thing of like make your hands do what your mind imagines,

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Speaker 2: you know, so, or just breath control, you know, practice

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Speaker 2: long terms. I've been trying to be more disciplined about

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Speaker 2: practicing my clarinet sometimes, you know, but similar, but what

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Speaker 2: do you do do you play scales and do extra

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Speaker 2: you know what, I will play a lot with music

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Speaker 2: that I like because I'm not great at just practicing.

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Speaker 2: I should just practice scales. And I'm trying. You know,

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Speaker 2: I'm an illiterate musician. I'm trying to learn to read

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Speaker 2: music now belatedly. I do everything by ear. So I've

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Speaker 2: been trying to practice reading a little bit. How do

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Speaker 2: you think it's going to help you?

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Speaker 1: Do you think you're going to start reading charts and

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Speaker 1: like well playing along to other things, or do you

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Speaker 1: want to write more?

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Speaker 2: I think I want to be better at communicating with

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Speaker 2: musicians who are more used to reading. I understand that

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Speaker 2: instead of being like, you know, it kind of sounds

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Speaker 2: purple and.

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Speaker 11: Just going to say that example exactly, yeah, be able

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Speaker 11: to be like it this suspended discord with you know, like,

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Speaker 11: actually say what it is instead of my I do

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Speaker 11: understand that, you know, la la speak like.

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Speaker 2: So I do want to get better, and I do

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Speaker 2: want to write a symphony really yeah, yeah, I have

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Speaker 2: an I whole idea for it, okay, be called the

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Speaker 2: Spring of Rights and oh and and I have I

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Speaker 2: have all kinds of ideas for it. But I want

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Speaker 2: to be able to write it myself, so I'm going

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Speaker 2: to have to get I'm going to have to learn

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Speaker 2: how to How do I do? That's incredible? And I

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Speaker 2: think your ideas are enough and you can get an

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Speaker 2: assistant to help you notate it. I'm just going to

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Speaker 2: put that out there. That's true. I could do that.

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Speaker 2: I couldn't do that. It's okay and acceptable.

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Speaker 12: I'll do both.

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Speaker 2: I'll work on it while also having someone that really

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Speaker 2: knows what they're doing, and you'll learn about notation in

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Speaker 2: the process. But I can't think of anything more difficult

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Speaker 2: than notating a whole. It's hard. Oh my gosh. I

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Speaker 2: can imagine it's hard. But I'm also trying to demystify

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Speaker 2: it for myself like I can, like at we do,

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Speaker 2: we play music, we have to doing it. It's just

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Speaker 2: you know, writing it down. And I think about it,

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Speaker 2: as you know. My grandma was a teacher, my maternal grandmother,

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Speaker 2: and she got really into working on adult literacy in

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Speaker 2: her later years. And I think about that. I think

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Speaker 2: about adults that never learned to read to write, and

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Speaker 2: how into maything that must be. But like you, but

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Speaker 2: you can do it, yes, And I feel that way

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Speaker 2: about music like I never learned to write it, but

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Speaker 2: I could. You could do it? Yeah? Yeah, but do

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Speaker 2: you have a hang up about it? Yes? Okay, you

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Speaker 2: don't need I'm just here. I want to release you

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Speaker 2: from that. Yeah. Well it's like I never went to

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Speaker 2: college years, so I have a hang up about them,

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Speaker 2: like I'm under educated. Yeah I understand that, but don't

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Speaker 2: let it go. Let it go. Hug that hang up

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Speaker 2: and hang it at to dry. Yeah, let it go,

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Speaker 2: let it go. Oh my gosh. Well, do you want

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Speaker 2: to do another song from uniw record? We can? Should

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Speaker 2: like it? Should we try?

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Speaker 13: Yeah?

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Speaker 1: I would love to try this one, okay, So full disclaimer,

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Speaker 1: this is the song I'm gonna put a vocal on.

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Speaker 2: Yes, but not right now, not right later. Later you're like,

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Speaker 2: and this is one and full disclaimer. I never play

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Speaker 2: this one on banjo, so I was like practicing it

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Speaker 2: this morning. Yeah, do I do? I know how to

348
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Speaker 2: do this? Do you want to tune again? I feel

349
00:20:47,960 --> 00:20:51,920
Speaker 2: like we slipped a little. I probably should almost almost always.

350
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Speaker 2: The banjo is always a problem, now I know. And

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Speaker 2: I'm gonna not mess up our ending. I'm gonna look

352
00:20:57,760 --> 00:21:00,679
Speaker 2: at you more, okay, And I'm gonna look at you more. Well,

353
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Speaker 2: I don't know. I'm following you. We're following you. I'm

354
00:21:03,720 --> 00:21:06,920
Speaker 2: got to follow you. I will follow you, follow you

355
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Speaker 2: wherever you may go.

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Speaker 12: Right, will you see me and my power? And you

357
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Speaker 12: see me black and blue?

358
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Speaker 6: Been the hole, been through at the lords and has

359
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Speaker 6: and you never spoken nothing.

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Speaker 9: The truth.

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Speaker 3: We're in the truth was so.

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Speaker 4: Cold.

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00:22:01,680 --> 00:22:03,760
Speaker 3: You get that bout the fall?

364
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Speaker 9: I fall?

365
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Speaker 6: Let me sleep easy till the morning?

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Speaker 7: Where's your way back to f.

367
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Speaker 6: Who's gonna be a sandsa from the storm?

368
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Speaker 2: Don't forget one that got need?

369
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Speaker 14: So they gonna need a chance. Well, I don't know

370
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Speaker 14: how the trailer, So I write this south for you.

371
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Speaker 3: I've been j wi you sleep?

372
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Speaker 12: You put a la on me?

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Speaker 3: You know, seema into goo with my gonsul time? Will

374
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Speaker 3: you take the work for me?

375
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Speaker 6: Let me see besy Tell mon, where's your way back

376
00:23:40,119 --> 00:23:41,200
Speaker 6: to Faye?

377
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Speaker 15: Who's gonna be a st the store? Don't falk in

378
00:23:54,640 --> 00:24:03,119
Speaker 15: monday me? So you're gonna need a lad shiller?

379
00:24:22,640 --> 00:24:25,480
Speaker 3: Where's your way back to fed me?

380
00:24:25,600 --> 00:24:26,040
Speaker 7: Really?

381
00:24:30,160 --> 00:24:38,359
Speaker 3: Who's gonna be a shatta from the stone? Don't fock

382
00:24:38,600 --> 00:24:47,199
Speaker 3: can't wine lad hon need? You're gonna need a lad shad,

383
00:24:52,600 --> 00:24:54,200
Speaker 3: where's your way back?

384
00:24:54,520 --> 00:24:54,840
Speaker 2: Truth?

385
00:24:55,000 --> 00:25:04,000
Speaker 3: Fan re Who's gonna be a shell full the stone?

386
00:25:10,480 --> 00:25:10,520
Speaker 2: Go?

387
00:25:14,560 --> 00:25:17,400
Speaker 3: Then shed?

388
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Speaker 8: I loved it.

389
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Speaker 2: I loved it. Okay, Oh that's fun. Yeah, that would

390
00:25:41,359 --> 00:25:43,520
Speaker 2: be fun to play in front of an audience together.

391
00:25:43,640 --> 00:25:46,360
Speaker 2: Someday we're gonna do it one day. And then when

392
00:25:46,400 --> 00:25:48,040
Speaker 2: we do it in the front of the audience, in

393
00:25:48,160 --> 00:25:50,879
Speaker 2: my dream, you take the first verse. Oh, the first

394
00:25:51,000 --> 00:25:54,600
Speaker 2: verse is that crazy? No? No, I mean I was

395
00:25:54,680 --> 00:25:57,080
Speaker 2: thinking the second verse, but I mean he's a bit.

396
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Speaker 2: If you prefer, you can do whichever. Honestly, well, you've

397
00:26:00,960 --> 00:26:04,680
Speaker 2: seen me the hour. I love that. I was imagining

398
00:26:04,720 --> 00:26:07,040
Speaker 2: you take in the first verse and then I I

399
00:26:07,160 --> 00:26:10,600
Speaker 2: love it, just to switch it up. That's so cool.

400
00:26:11,280 --> 00:26:14,760
Speaker 2: We got to sing together only once at the Willie Nelson.

401
00:26:14,960 --> 00:26:16,120
Speaker 2: That was so much fun.

402
00:26:16,359 --> 00:26:17,920
Speaker 3: Then I know we met on.

403
00:26:18,320 --> 00:26:20,360
Speaker 2: We basically met on. We met it sound chuck, yeah,

404
00:26:20,359 --> 00:26:23,080
Speaker 2: it sounds yeah, And it was so special to hang

405
00:26:23,160 --> 00:26:25,320
Speaker 2: with you that night. I loved it. It was so

406
00:26:25,480 --> 00:26:27,399
Speaker 2: much fun. And we did that one of my favorite

407
00:26:27,440 --> 00:26:29,760
Speaker 2: tunes that he did with Ray Charles, seven Spanish Angels,

408
00:26:29,800 --> 00:26:31,399
Speaker 2: and you were Ray Charles and I was willing up.

409
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Speaker 3: Yes, it was so fun about it.

410
00:26:34,400 --> 00:26:36,720
Speaker 2: We got to play them. It was so fun and

411
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Speaker 2: I'll never forget the audience freaking out when you sang

412
00:26:38,920 --> 00:26:41,840
Speaker 2: the Texas line. Oh yeah, of course, and I'm from Texa,

413
00:26:41,960 --> 00:26:43,320
Speaker 2: I know, so it's perfect.

414
00:26:43,480 --> 00:26:44,719
Speaker 9: It was so perfect.

415
00:26:45,040 --> 00:26:47,000
Speaker 2: And they threw that at us at the last second.

416
00:26:47,040 --> 00:26:49,040
Speaker 2: They did very like the night before. It was the

417
00:26:49,119 --> 00:26:50,960
Speaker 2: night before. They were like, Oh, we need someone to

418
00:26:51,040 --> 00:26:52,600
Speaker 2: do do you two want to do this? I was

419
00:26:52,640 --> 00:26:56,200
Speaker 2: like yeah, I was so excited. I was thrilled because

420
00:26:56,200 --> 00:26:58,280
Speaker 2: I had been thrilled because I have loved your music

421
00:26:58,400 --> 00:27:01,800
Speaker 2: for since you've been it out. It's your first record

422
00:27:01,840 --> 00:27:03,359
Speaker 2: that I became aware of in two thousand and three.

423
00:27:03,480 --> 00:27:06,040
Speaker 2: You might put out ones before it, but it came

424
00:27:06,080 --> 00:27:07,520
Speaker 2: out in two thousand and two, but it was two

425
00:27:07,520 --> 00:27:07,959
Speaker 2: thousand and two.

426
00:27:08,119 --> 00:27:08,680
Speaker 3: It got big.

427
00:27:08,880 --> 00:27:10,440
Speaker 2: It was like a slow burn, so it got big

428
00:27:10,520 --> 00:27:12,399
Speaker 2: in two. I feel like I got it in two

429
00:27:12,440 --> 00:27:14,119
Speaker 2: thousand and three. Yeah, and that was the year my

430
00:27:14,200 --> 00:27:17,440
Speaker 2: first baby band, po girl Like put out our first record.

431
00:27:17,560 --> 00:27:22,400
Speaker 2: Oh cool, And but you were a huge inspiration to us. Yeah. Yeah, Well,

432
00:27:22,520 --> 00:27:25,560
Speaker 2: I was in Woodstock a few summers ago and I

433
00:27:26,359 --> 00:27:28,679
Speaker 2: was listening to the radio a lot, and they played

434
00:27:29,080 --> 00:27:32,240
Speaker 2: night flyer, Oh my so much. And every time it

435
00:27:32,320 --> 00:27:36,520
Speaker 2: came out, I was just like, oh I felt good driving,

436
00:27:37,000 --> 00:27:37,200
Speaker 2: you know.

437
00:27:38,440 --> 00:27:42,240
Speaker 1: Yeah, that was my first sort of awareness. Yea, even

438
00:27:42,280 --> 00:27:45,359
Speaker 1: though we have seems that we have many mutual friends

439
00:27:45,640 --> 00:27:46,560
Speaker 1: for way back.

440
00:27:46,840 --> 00:27:48,760
Speaker 2: Yeah, but that's always the way, Like I feel like

441
00:27:48,840 --> 00:27:51,439
Speaker 2: these overlapping circles, it just takes time sometimes to come

442
00:27:51,480 --> 00:27:54,200
Speaker 2: around and like meet each other. And I love that

443
00:27:54,280 --> 00:27:57,280
Speaker 2: we got to meet like on stage basically at Realie's

444
00:27:57,359 --> 00:28:00,200
Speaker 2: night at a birthday party at the Hollywood Bowl. So

445
00:28:00,680 --> 00:28:03,280
Speaker 2: joyful and I was so bummed to miss the show

446
00:28:03,359 --> 00:28:06,240
Speaker 2: the other night. Do you want to talk about that

447
00:28:06,359 --> 00:28:10,200
Speaker 2: show at bath House? Yes? I mean it's such a beautiful.

448
00:28:10,240 --> 00:28:13,720
Speaker 2: This was the thirty eighth annual fundraiser for to bath

449
00:28:13,720 --> 00:28:18,440
Speaker 2: House US, and they do it at Carnegie Hall every year.

450
00:28:19,080 --> 00:28:21,840
Speaker 2: I've been aware it for so long. It's so lovely.

451
00:28:21,920 --> 00:28:24,480
Speaker 2: Patty Smith's band as the house band for it every

452
00:28:24,560 --> 00:28:28,679
Speaker 2: year cool, which is just so lovely. And and they

453
00:28:28,840 --> 00:28:31,640
Speaker 2: have you know, all the horn players from sex Mob

454
00:28:31,760 --> 00:28:36,920
Speaker 2: came wars. Yes there, that's great and it was a

455
00:28:37,119 --> 00:28:41,400
Speaker 2: really gorgeous lineup. You know obviously Patti Smith, but Tenz

456
00:28:41,440 --> 00:28:44,800
Speaker 2: and Choigall, who's like an incredible Tibetan musician. He brought

457
00:28:44,840 --> 00:28:48,320
Speaker 2: a whole Tibetan kids choir this year, and two Yards

458
00:28:48,480 --> 00:28:53,440
Speaker 2: came and Raville Peck and oh, oh my gosh, there

459
00:28:53,520 --> 00:28:56,480
Speaker 2: was there were so many beautiful I saw Michael Michael

460
00:28:56,520 --> 00:29:01,400
Speaker 2: Stie and he was incredible, so nice. He's such a

461
00:29:01,480 --> 00:29:04,600
Speaker 2: lovely man, and he was like he just watched everybody

462
00:29:04,720 --> 00:29:08,280
Speaker 2: from side stage all that he was enjoying everyone's performances

463
00:29:08,280 --> 00:29:10,400
Speaker 2: all night and being so supportive of all the other

464
00:29:10,560 --> 00:29:13,360
Speaker 2: artists and so sweet. What I love about it is

465
00:29:13,400 --> 00:29:16,680
Speaker 2: it's just so collaborative. Everybody ends up playing with everybody else.

466
00:29:16,840 --> 00:29:21,760
Speaker 2: And Google Bordello closed it out and then they they

467
00:29:21,880 --> 00:29:24,800
Speaker 2: covered Patty Smith's people have the power to close it out.

468
00:29:24,840 --> 00:29:30,640
Speaker 2: Of course, everybody's on stage now, everybody's and everybody. It

469
00:29:30,800 --> 00:29:33,600
Speaker 2: was just a beautiful night. That's really beautiful. And it's

470
00:29:33,640 --> 00:29:35,480
Speaker 2: such circle work because it's like, you know, and I

471
00:29:35,520 --> 00:29:40,680
Speaker 2: always talk about this when we perform, the people on

472
00:29:40,760 --> 00:29:42,440
Speaker 2: stage are only one half of the circle. It's the

473
00:29:42,480 --> 00:29:45,120
Speaker 2: people that are receiving and that are partaking and that

474
00:29:45,200 --> 00:29:49,360
Speaker 2: are you know, creatively communing and listening and participating in

475
00:29:49,440 --> 00:29:52,000
Speaker 2: the other half of the circle. You know, I think

476
00:29:52,040 --> 00:29:57,120
Speaker 2: it's such an antidote to the toxicity of our online forums.

477
00:29:57,720 --> 00:30:00,200
Speaker 2: You know, when we can be together in real time time,

478
00:30:00,440 --> 00:30:02,960
Speaker 2: in real life and our limbic systems can link up

479
00:30:03,080 --> 00:30:07,000
Speaker 2: and we start breathing together and laughing together and feeling

480
00:30:07,080 --> 00:30:10,640
Speaker 2: together and realizing that there's really not anything to fear

481
00:30:11,400 --> 00:30:13,480
Speaker 2: with each other. You know, You're right. It is a

482
00:30:13,600 --> 00:30:16,920
Speaker 2: really special thing to be together in a space. To me,

483
00:30:17,040 --> 00:30:20,160
Speaker 2: those spaces are also holy in sacred they that live

484
00:30:20,600 --> 00:30:25,280
Speaker 2: that idea of we're sharing in this human creative endeavor

485
00:30:25,320 --> 00:30:28,560
Speaker 2: together and we're kind of co creating it. It's always

486
00:30:28,600 --> 00:30:31,920
Speaker 2: a co creation. Okay, in real time. That's interesting you

487
00:30:32,000 --> 00:30:32,280
Speaker 2: say that.

488
00:30:32,480 --> 00:30:34,560
Speaker 1: Now I'm going to ask you just got off of

489
00:30:34,640 --> 00:30:41,160
Speaker 1: a crazy run playing on Broadway. Yes, okay, so you

490
00:30:41,280 --> 00:30:42,960
Speaker 1: were playing Persephone.

491
00:30:42,800 --> 00:30:47,040
Speaker 2: The Goddess Persephone in a Nace Mitchell's Hades Town, which

492
00:30:47,080 --> 00:30:51,320
Speaker 2: is a huge hit. It's a huge It's Broadway. It's wild.

493
00:30:51,560 --> 00:30:53,360
Speaker 2: You've just come in like after it's been out a

494
00:30:53,400 --> 00:30:56,480
Speaker 2: few years. Oh, yes, So it's this is I want

495
00:30:56,520 --> 00:30:59,000
Speaker 2: to crow about this on their behalf because I think

496
00:30:59,040 --> 00:31:03,840
Speaker 2: it's so extraordinary and it's so unique on Broadway. So

497
00:31:04,440 --> 00:31:07,440
Speaker 2: anaas Mitchell is the writer of both you know, the

498
00:31:07,520 --> 00:31:11,000
Speaker 2: book and the music, and Rachel Shavkin is the director,

499
00:31:11,160 --> 00:31:15,000
Speaker 2: and it is now in its sixth year on Broadway.

500
00:31:15,600 --> 00:31:20,160
Speaker 2: It debuted in twenty nineteen. In twenty nineteen, it became

501
00:31:20,480 --> 00:31:24,360
Speaker 2: the first ever musical both written and directed by women

502
00:31:24,480 --> 00:31:26,600
Speaker 2: to win Best New Musical at the Tonies. It won

503
00:31:26,680 --> 00:31:30,800
Speaker 2: eight Tony Awards. It's great, you know, include lighting, direction, dramaturgy,

504
00:31:30,840 --> 00:31:32,800
Speaker 2: all of these things, and it deserves them. I mean,

505
00:31:32,840 --> 00:31:36,200
Speaker 2: it's really an extraordinary production. But it is so unique

506
00:31:36,360 --> 00:31:39,200
Speaker 2: in that it is, you know, Broadway is quite a

507
00:31:39,240 --> 00:31:43,200
Speaker 2: boys club in terms of like writing and directing. And

508
00:31:43,320 --> 00:31:46,440
Speaker 2: it's the first, still in history to this day, the

509
00:31:46,560 --> 00:31:48,880
Speaker 2: first musical to win Best New Musical that was both

510
00:31:48,920 --> 00:31:51,840
Speaker 2: written directed by women. It's the longest running now musical

511
00:31:52,000 --> 00:31:55,400
Speaker 2: on Broadway ever written and both written and directed by women.

512
00:31:55,480 --> 00:31:58,920
Speaker 2: It's the forty third longest running period. It's the longest

513
00:31:59,000 --> 00:32:02,000
Speaker 2: running musical in history at the Walter curR which is

514
00:32:02,040 --> 00:32:05,000
Speaker 2: its Broadway home. Okay, the Waltercurk Theater, which is gorgeous

515
00:32:05,040 --> 00:32:08,440
Speaker 2: theater from the early twenties, just a beautiful theater on

516
00:32:08,720 --> 00:32:12,880
Speaker 2: forty eighth. Yeah, just up from Broadway, and it is

517
00:32:14,000 --> 00:32:17,680
Speaker 2: just a magical unicorn. It's still you know, Broadway's tough,

518
00:32:17,880 --> 00:32:21,720
Speaker 2: like there's so many it's such a thing. And Hatley especially,

519
00:32:21,800 --> 00:32:24,520
Speaker 2: you know, like Elton John's musical shutdown after two weeks

520
00:32:24,560 --> 00:32:28,200
Speaker 2: and the Avep Brothers Swept Away shut down early. There's

521
00:32:28,280 --> 00:32:32,000
Speaker 2: no no and it wasn't for them not being great musicals. Right,

522
00:32:32,200 --> 00:32:33,800
Speaker 2: there's no telling what's gonna make it.

523
00:32:33,920 --> 00:32:34,520
Speaker 16: I just don't know.

524
00:32:34,800 --> 00:32:36,720
Speaker 2: Okay. Well, so going back to what you're saying about

525
00:32:36,720 --> 00:32:39,760
Speaker 2: the circle work and the live performance, how did that

526
00:32:39,920 --> 00:32:42,560
Speaker 2: play in the Broadway setting? Because I know things are

527
00:32:42,760 --> 00:32:46,000
Speaker 2: quite rehearsed and quite it is, but that audience is

528
00:32:46,160 --> 00:32:49,040
Speaker 2: so that's what's remarkable. I would say the average age

529
00:32:49,160 --> 00:32:53,720
Speaker 2: of the Hades Town audience is about twenty. Wow, it's

530
00:32:53,800 --> 00:32:55,760
Speaker 2: eighteen to twenty five year olds who are the bulk

531
00:32:55,880 --> 00:32:59,920
Speaker 2: of the audience. It has become hugely popular. The Hades

532
00:33:00,040 --> 00:33:03,520
Speaker 2: Town teen version is being put on in schools across

533
00:33:03,600 --> 00:33:08,120
Speaker 2: North America. A lot of our particular matinees on Wednesday,

534
00:33:08,160 --> 00:33:10,560
Speaker 2: we would get tons of school groups that's great coming

535
00:33:10,640 --> 00:33:13,920
Speaker 2: through and I would meet, you know, sixteen year olds. Well,

536
00:33:13,960 --> 00:33:17,520
Speaker 2: I played persephony in my school's production, and so it

537
00:33:17,600 --> 00:33:22,200
Speaker 2: has become really popular for communities to put on, for

538
00:33:22,280 --> 00:33:25,720
Speaker 2: high schools to put on. It's doing so well. So

539
00:33:25,880 --> 00:33:28,240
Speaker 2: you still felt the audience very much. And I think

540
00:33:28,320 --> 00:33:32,080
Speaker 2: even more, I think even more they know I met

541
00:33:32,440 --> 00:33:35,400
Speaker 2: I met young folks at stage door who had been

542
00:33:35,480 --> 00:33:37,800
Speaker 2: to see it upwards of twenty times. Oh yeah, because

543
00:33:37,800 --> 00:33:41,680
Speaker 2: they get really I think for a lot of those kids,

544
00:33:42,360 --> 00:33:46,040
Speaker 2: this show has become that kind of a safe It's

545
00:33:46,040 --> 00:33:48,320
Speaker 2: almost like a liturgy for them. It's a it's they

546
00:33:48,440 --> 00:33:53,400
Speaker 2: know every word. There's just something really magical about the

547
00:33:53,520 --> 00:33:56,080
Speaker 2: communion with the audience because it is it's different every night.

548
00:33:56,160 --> 00:33:59,000
Speaker 2: It's different depending on who's there, you know. And I

549
00:33:59,280 --> 00:34:02,400
Speaker 2: felt that, and it was the discipline of playing a

550
00:34:02,520 --> 00:34:05,720
Speaker 2: role where you can't you can't mess up that choreography,

551
00:34:05,840 --> 00:34:08,160
Speaker 2: you can't mess up those lyrics, or it messes up

552
00:34:08,200 --> 00:34:10,440
Speaker 2: everybody else that's on stage with you in the ensemble.

553
00:34:11,320 --> 00:34:14,680
Speaker 2: But it's yet, it's different every night, So there's subtle difference.

554
00:34:15,440 --> 00:34:19,160
Speaker 2: Vibe to play with very much. Sing as you're singing, Yeah,

555
00:34:19,400 --> 00:34:22,120
Speaker 2: I mean you strike me as someone who never doesn't

556
00:34:22,360 --> 00:34:26,439
Speaker 2: put her whole soul into what she's singing. I try

557
00:34:26,520 --> 00:34:29,439
Speaker 2: to you know, I try to be really present every time,

558
00:34:29,640 --> 00:34:32,840
Speaker 2: and I would. You know, my character every night believed

559
00:34:33,080 --> 00:34:35,440
Speaker 2: the lovers would make it, you know, believed that Orpheus

560
00:34:35,480 --> 00:34:38,200
Speaker 2: and you would make it. I could see every night,

561
00:34:38,360 --> 00:34:40,360
Speaker 2: you know, and I would. I mean, I felt it

562
00:34:41,320 --> 00:34:43,319
Speaker 2: every night. So there's this there's at the same time.

563
00:34:43,600 --> 00:34:45,239
Speaker 2: On the one hand, you have to be disciplined and

564
00:34:45,280 --> 00:34:48,399
Speaker 2: you have to obviously know the beats of the track

565
00:34:48,480 --> 00:34:50,600
Speaker 2: of that role and make sure you're not messing it up,

566
00:34:50,719 --> 00:34:53,399
Speaker 2: but you also have to be present in the storytelling. Yeah,

567
00:34:53,680 --> 00:34:56,480
Speaker 2: and it felt real to me every night, you know,

568
00:34:56,760 --> 00:34:59,520
Speaker 2: and she believed she every night didn't know the ending,

569
00:34:59,760 --> 00:35:01,839
Speaker 2: you know, every night, even though we all know the ending.

570
00:35:02,040 --> 00:35:05,239
Speaker 2: It's thousands of year old story, but my character didn't

571
00:35:05,280 --> 00:35:08,239
Speaker 2: know the ending. And you know, the discipline of being

572
00:35:08,719 --> 00:35:11,439
Speaker 2: present like that for you know, two and a half

573
00:35:11,480 --> 00:35:16,640
Speaker 2: hours every night in this role was really medicinal somehow

574
00:35:16,719 --> 00:35:18,680
Speaker 2: to me at this time, I think, and especially just

575
00:35:18,880 --> 00:35:22,799
Speaker 2: you know, with the way our election went. Where we're

576
00:35:22,840 --> 00:35:27,840
Speaker 2: at right now kind of with deep, deep divisions in

577
00:35:27,920 --> 00:35:33,520
Speaker 2: our country politically and certainly online, that's amplified and kind

578
00:35:33,560 --> 00:35:35,799
Speaker 2: of it's almost like a fun house mirror. I feel

579
00:35:35,840 --> 00:35:39,320
Speaker 2: like the way our online algorithms work is a distortion

580
00:35:39,520 --> 00:35:42,799
Speaker 2: actually of where we really are and who we really are.

581
00:35:43,239 --> 00:35:45,480
Speaker 2: But it's easy to fall into it. It's easy to

582
00:35:45,560 --> 00:35:48,719
Speaker 2: believe that's who we are. But when we as you say,

583
00:35:48,800 --> 00:35:51,600
Speaker 2: when you whether it's going to church, whether it's going

584
00:35:51,680 --> 00:35:54,440
Speaker 2: to a show, or you know, or just having a

585
00:35:54,560 --> 00:35:57,360
Speaker 2: conversation with someone like at the grocery store, you know,

586
00:35:57,480 --> 00:36:03,840
Speaker 2: in real life, that counteracts the distortion of online. You know,

587
00:36:04,120 --> 00:36:06,840
Speaker 2: I think that we're not as far gone as we

588
00:36:06,880 --> 00:36:09,640
Speaker 2: appear to be when you look at are the online

589
00:36:09,719 --> 00:36:12,640
Speaker 2: story of us. I agree with that. Yeah, I want

590
00:36:12,719 --> 00:36:16,000
Speaker 2: us to be together more. Yes, yeah, we need too.

591
00:36:16,280 --> 00:36:20,160
Speaker 2: We need to be. We need to be. And what

592
00:36:20,360 --> 00:36:23,160
Speaker 2: struck me, what strikes me about that musical is the

593
00:36:23,239 --> 00:36:28,640
Speaker 2: way that it has become a safe place for young

594
00:36:28,719 --> 00:36:31,120
Speaker 2: people that have been you know, a lot of our

595
00:36:31,160 --> 00:36:34,880
Speaker 2: audience definitely very queer forward audience, I would say, and

596
00:36:35,040 --> 00:36:37,560
Speaker 2: a lot of the kids that come have been rejected

597
00:36:37,600 --> 00:36:40,800
Speaker 2: from religious communities because of their orientation or because of

598
00:36:40,880 --> 00:36:45,960
Speaker 2: their gender identity. And that to me is so heartbreaking

599
00:36:46,040 --> 00:36:50,160
Speaker 2: that that is happening within our religious communities. And I

600
00:36:50,280 --> 00:36:53,600
Speaker 2: know that that that's also changing there's many communities that

601
00:36:53,640 --> 00:36:55,680
Speaker 2: are adapting to go. No, we have to love our

602
00:36:55,760 --> 00:36:58,799
Speaker 2: kids no matter what. Yeah, it should be like love

603
00:36:58,840 --> 00:37:01,600
Speaker 2: of our children needs to be unconditional. Actually, and if

604
00:37:02,280 --> 00:37:04,440
Speaker 2: if something in our liturgy is saying otherwise, then we

605
00:37:04,560 --> 00:37:07,239
Speaker 2: need to adapt and shift. You know. Yeah, I think

606
00:37:07,280 --> 00:37:11,040
Speaker 2: that's happening that it seems so magical. Yeah, it's like,

607
00:37:11,200 --> 00:37:12,239
Speaker 2: how can you argue with that?

608
00:37:12,440 --> 00:37:12,640
Speaker 7: Yeah?

609
00:37:12,880 --> 00:37:17,360
Speaker 2: Exactly. Yeah, were you just exhausted doing the show? Not

610
00:37:17,560 --> 00:37:20,080
Speaker 2: until it ended. I've heard it's the most exhausting thing

611
00:37:20,280 --> 00:37:23,279
Speaker 2: that you can do. Because Broadway is eight shows a week. Yeah,

612
00:37:23,280 --> 00:37:25,360
Speaker 2: that's a lot, and you have one dark day and

613
00:37:25,600 --> 00:37:29,200
Speaker 2: in our case it's Monday. And I didn't miss a show.

614
00:37:29,360 --> 00:37:31,920
Speaker 2: So my contract was fifteen weeks and I did not

615
00:37:32,160 --> 00:37:35,280
Speaker 2: miss a show, eight shows a week for fifteen weeks.

616
00:37:35,640 --> 00:37:37,160
Speaker 2: And I felt fine while.

617
00:37:36,960 --> 00:37:37,440
Speaker 7: I was in it.

618
00:37:37,640 --> 00:37:39,840
Speaker 2: But the minute it ended, I think I had like

619
00:37:39,920 --> 00:37:44,000
Speaker 2: a dreamal shutdown. Sure, basically yeah, on the floor and

620
00:37:44,080 --> 00:37:47,239
Speaker 2: I couldn't speak and I couldn't move, and it was like,

621
00:37:47,280 --> 00:37:49,840
Speaker 2: oh that was hard, you know, when I was just

622
00:37:49,880 --> 00:37:52,920
Speaker 2: pin through kind of kept me going, I think, And

623
00:37:53,000 --> 00:37:55,320
Speaker 2: this was my it was my first Broadway role. It

624
00:37:55,440 --> 00:37:57,320
Speaker 2: was my first not just Broadway but act like, So,

625
00:37:57,480 --> 00:37:59,880
Speaker 2: had you ever done any acting as a kid? I

626
00:38:00,120 --> 00:38:02,840
Speaker 2: in the tenth grade, I played Oberon, King of the

627
00:38:02,920 --> 00:38:06,120
Speaker 2: Fairies in my high school production of Mid Summer Night Street.

628
00:38:06,239 --> 00:38:13,040
Speaker 2: That's amazing. So this was a huge you know, a

629
00:38:13,120 --> 00:38:17,800
Speaker 2: big shift and a challenge. But I loved it, and

630
00:38:17,880 --> 00:38:19,640
Speaker 2: of course now I've been bitten by that bug and

631
00:38:19,680 --> 00:38:20,840
Speaker 2: I want to do it. You think you would do

632
00:38:20,840 --> 00:38:23,360
Speaker 2: it again? Oh? Yeah, definitely, Yeah, I loved it. I

633
00:38:23,480 --> 00:38:26,000
Speaker 2: really did. Do you want to try night Fly? Should

634
00:38:26,040 --> 00:38:28,120
Speaker 2: we do it? Since it's my intro to you and

635
00:38:28,200 --> 00:38:30,759
Speaker 2: I love this song so much, just do it. I

636
00:38:30,800 --> 00:38:32,640
Speaker 2: don't know whether I wonder if do you want to

637
00:38:32,719 --> 00:38:34,240
Speaker 2: just play piano and I play clarinet?

638
00:38:34,480 --> 00:38:34,600
Speaker 7: Oh?

639
00:38:34,680 --> 00:38:35,400
Speaker 9: Yeah? Should we do?

640
00:38:35,760 --> 00:38:38,080
Speaker 2: I don't know. When you want to play clarinet? I

641
00:38:38,120 --> 00:38:40,800
Speaker 2: would because I usually again, this is so it's so funny.

642
00:38:41,680 --> 00:38:44,960
Speaker 2: I'm so spoiled with my Rainbow Coalition ensemble. I almost

643
00:38:45,120 --> 00:38:47,399
Speaker 2: never I always just played clarinet on this, and really

644
00:38:47,760 --> 00:38:52,560
Speaker 2: m h yeah. Usually it's Gannessa James or playing guitar

645
00:38:52,640 --> 00:38:54,919
Speaker 2: on this or keep a Hopkinson. I could play guitar,

646
00:38:55,040 --> 00:38:57,000
Speaker 2: but I think, oh no, I think piano will be

647
00:38:57,080 --> 00:38:59,440
Speaker 2: Beautiful on this You were going to play it at

648
00:38:59,440 --> 00:39:01,239
Speaker 2: the Willie thing, but then we kind of ran out

649
00:39:01,280 --> 00:39:04,680
Speaker 2: of steam for something. I don't know what happened. It

650
00:39:04,840 --> 00:39:05,600
Speaker 2: was so much fun.

651
00:39:05,880 --> 00:39:07,920
Speaker 1: That night after the second show, I got back to

652
00:39:08,000 --> 00:39:09,520
Speaker 1: my hotel room and I had to get up at

653
00:39:09,600 --> 00:39:12,440
Speaker 1: four am for a flight, so I just kind of

654
00:39:12,520 --> 00:39:14,239
Speaker 1: like stayed up and packed, and then I listened to

655
00:39:14,360 --> 00:39:18,480
Speaker 1: old Willie albums. I just started weeping the way the

656
00:39:18,600 --> 00:39:20,080
Speaker 1: music has touched me my whole life.

657
00:39:20,280 --> 00:39:21,560
Speaker 2: I was listening to Willie, I.

658
00:39:21,640 --> 00:39:25,280
Speaker 1: Was just packing, and like I was like ugly crying, packing,

659
00:39:25,719 --> 00:39:29,400
Speaker 1: but so full of joy from the weekend, like not

660
00:39:29,680 --> 00:39:34,200
Speaker 1: sad crying, but also just just having that experience with everyone.

661
00:39:34,320 --> 00:39:37,440
Speaker 2: We were also it was beautiful. We were all so happy,

662
00:39:37,600 --> 00:39:41,520
Speaker 2: and Willy was happy. Willy was so happy. Great. One

663
00:39:41,520 --> 00:39:45,040
Speaker 2: of my favorite moments was when we were running seven

664
00:39:45,120 --> 00:39:48,359
Speaker 2: Spanish Angels in sound check and Willie and Annie went

665
00:39:48,440 --> 00:39:51,640
Speaker 2: by on the golf cart and he was like, sounds great, girls.

666
00:39:53,000 --> 00:39:59,359
Speaker 2: I forgot that. It's like I can't believe I'm seeing

667
00:39:59,400 --> 00:40:01,799
Speaker 2: I but Nora Joe just went buying a golf cart

668
00:40:01,800 --> 00:40:07,080
Speaker 2: and it sounds Willie. I just Willly's so special to

669
00:40:07,160 --> 00:40:11,280
Speaker 2: me and has been since I was little bitty. Willie

670
00:40:11,320 --> 00:40:13,879
Speaker 2: Nelson is just he's such a bad asking. I'm sorry,

671
00:40:14,040 --> 00:40:16,680
Speaker 2: I shouldn't say that. That curse a lot. He's such

672
00:40:16,680 --> 00:40:20,719
Speaker 2: an amazing human and he is that like that he

673
00:40:20,880 --> 00:40:25,400
Speaker 2: threw himself a two day giant party at the Hollywood

674
00:40:25,400 --> 00:40:27,520
Speaker 2: Bowl at where he just like worked so hard for

675
00:40:27,560 --> 00:40:30,359
Speaker 2: the entire time. I'd like to think it wasn't even

676
00:40:30,400 --> 00:40:34,920
Speaker 2: his idea, probably, but so amazing. The fun thing about.

677
00:40:34,760 --> 00:40:37,759
Speaker 1: Willie is he's such an icon, but he just likes

678
00:40:37,800 --> 00:40:40,200
Speaker 1: to play. Yeah, he just wants to play. Yeah, he

679
00:40:40,400 --> 00:40:44,480
Speaker 1: just loves playing, so why not. It was definitely the best,

680
00:40:44,520 --> 00:40:47,560
Speaker 1: one of the best shows I've ever experienced.

681
00:40:47,680 --> 00:40:49,879
Speaker 2: It was amazing from start to finish. You know, I'll

682
00:40:49,920 --> 00:40:51,800
Speaker 2: never forget it. And that was the last time you

683
00:40:51,840 --> 00:40:54,640
Speaker 2: saw Chris Chris Thommerson, Oh my gosh.

684
00:40:55,239 --> 00:40:55,479
Speaker 17: Yes.

685
00:40:55,640 --> 00:40:57,800
Speaker 1: And I had sung with him before and gotten to

686
00:40:57,880 --> 00:41:00,359
Speaker 1: know him and his wife a little bit over the years,

687
00:41:00,400 --> 00:41:02,160
Speaker 1: so like, it was so special to see them. I

688
00:41:02,200 --> 00:41:04,920
Speaker 1: hadn't seen them and since before COVID, I think.

689
00:41:05,160 --> 00:41:07,960
Speaker 2: And it was also the way that you kept him grounded,

690
00:41:08,080 --> 00:41:11,520
Speaker 2: you know, because he was struggling with dementia at that point, right, yeah,

691
00:41:11,920 --> 00:41:14,200
Speaker 2: or maybe it was Alzheimer's. I'm not really sure, but

692
00:41:14,280 --> 00:41:17,759
Speaker 2: he was struggling with some memory memory stuff, but he

693
00:41:17,920 --> 00:41:21,759
Speaker 2: was watching you and like you were. Yeah, but he

694
00:41:21,840 --> 00:41:24,840
Speaker 2: knew his song, he knew it, but it was there

695
00:41:24,920 --> 00:41:27,520
Speaker 2: was something so beautiful about the way he was watching

696
00:41:27,640 --> 00:41:30,000
Speaker 2: you sing it, like you were keeping him grounded. Talk

697
00:41:30,000 --> 00:41:32,960
Speaker 2: about being present. It was like a real big lesson

698
00:41:33,040 --> 00:41:37,960
Speaker 2: and being present it was because there was no preparing. No,

699
00:41:38,160 --> 00:41:41,200
Speaker 2: I'll never forget. He was so beautiful. I loved seeing

700
00:41:41,280 --> 00:41:43,120
Speaker 2: them and that was one of my favorite moments in

701
00:41:43,160 --> 00:41:45,080
Speaker 2: that whole show. I was watching you to do that.

702
00:41:45,440 --> 00:41:47,440
Speaker 2: It was a crier for sure. Oh my gosh, we

703
00:41:47,520 --> 00:41:51,040
Speaker 2: were all weeping. Such a good song too, just so beautiful.

704
00:41:51,520 --> 00:41:56,840
Speaker 2: That's a nice What instrument did you start on? Playing?

705
00:42:00,120 --> 00:42:02,680
Speaker 2: Kind of piano, but not really like I never learned.

706
00:42:02,760 --> 00:42:05,200
Speaker 2: I would just my mom is a piano player, so

707
00:42:05,360 --> 00:42:09,040
Speaker 2: I would like sound things out on the piano, but

708
00:42:09,800 --> 00:42:14,000
Speaker 2: I've never really played it. And then I guess guitar briefly,

709
00:42:14,480 --> 00:42:16,520
Speaker 2: Like when I first started writing songs, it was with guitar,

710
00:42:16,640 --> 00:42:19,759
Speaker 2: but I pretty quickly switched over to banjo because I

711
00:42:19,960 --> 00:42:22,879
Speaker 2: just because of Kermit the Frog. I was gonna say,

712
00:42:23,280 --> 00:42:25,440
Speaker 2: was there a banjo lying around? Like? How do you

713
00:42:25,680 --> 00:42:29,000
Speaker 2: just switch to banjo? You know? So when I was

714
00:42:29,840 --> 00:42:31,560
Speaker 2: pretty much in the I grew up in Montreal, and

715
00:42:31,560 --> 00:42:33,360
Speaker 2: I was pretty much in the closet as a songwriter

716
00:42:33,560 --> 00:42:36,360
Speaker 2: until I moved out to b C. I did you

717
00:42:36,400 --> 00:42:39,799
Speaker 2: always sing? I always sang okay, And I always sort

718
00:42:39,840 --> 00:42:42,640
Speaker 2: of wrote things, but like to in you know, I

719
00:42:42,680 --> 00:42:48,400
Speaker 2: didn't share them. And I when I was seventeen, I

720
00:42:49,680 --> 00:42:51,759
Speaker 2: ran away as far as I could from Montreal, and

721
00:42:51,880 --> 00:42:54,200
Speaker 2: as far as I could go was Vancouver, British Columbia,

722
00:42:54,880 --> 00:42:57,360
Speaker 2: and I ended up being there for almost a decade,

723
00:42:57,680 --> 00:43:00,320
Speaker 2: and I started playing. There was like a really thatving

724
00:43:01,160 --> 00:43:04,120
Speaker 2: kind of folky what we would have called alt country. Okay,

725
00:43:04,440 --> 00:43:07,239
Speaker 2: so you sell it? Yeah yeah. I fell into that

726
00:43:07,600 --> 00:43:11,240
Speaker 2: and into we have an awesome folk fest in Vancouver,

727
00:43:11,640 --> 00:43:15,120
Speaker 2: the Vancouver Folk Music Festival, And I started playing music

728
00:43:15,200 --> 00:43:16,840
Speaker 2: with a woman named Trish Klein, who was part of

729
00:43:16,840 --> 00:43:19,160
Speaker 2: a band called the Biga Tenias. Oh yeah, and I

730
00:43:19,239 --> 00:43:21,759
Speaker 2: really yeah. They were awesome and I looked up to

731
00:43:21,840 --> 00:43:25,520
Speaker 2: them and Trisha and I started playing music on the side,

732
00:43:25,560 --> 00:43:27,080
Speaker 2: and she was a banjo player and I was just

733
00:43:27,239 --> 00:43:29,640
Speaker 2: getting into playing clarinet at the time, so she was like,

734
00:43:29,760 --> 00:43:33,160
Speaker 2: let's do a project with banjoin clarinet. And we started

735
00:43:33,200 --> 00:43:35,680
Speaker 2: out doing kind of like learning songs from the American

736
00:43:35,760 --> 00:43:37,440
Speaker 2: Song Book, like do you know what it means to

737
00:43:37,440 --> 00:43:39,800
Speaker 2: miss New Orleans and things like that, and then we

738
00:43:39,920 --> 00:43:43,040
Speaker 2: very quickly started writing our own stuff, and that became

739
00:43:43,719 --> 00:43:46,600
Speaker 2: Poe Girl, which was my first baby band with her, okay,

740
00:43:47,160 --> 00:43:50,120
Speaker 2: and we toured around and were feral and wild, and

741
00:43:50,960 --> 00:43:53,640
Speaker 2: you know, had a nineteen seventy eight StarCraft band named

742
00:43:54,200 --> 00:43:56,920
Speaker 2: named Shaggy that we drove across the country and it

743
00:43:56,960 --> 00:44:01,040
Speaker 2: broke down in every province. We learn the hard way.

744
00:44:01,400 --> 00:44:04,600
Speaker 2: That is hard to do to, you know, like all

745
00:44:04,680 --> 00:44:07,479
Speaker 2: that stuff. So essentially, you didn't play an instrument until

746
00:44:07,480 --> 00:44:10,080
Speaker 2: you were like seventeen ish, yeah, okay, yeah, that's later.

747
00:44:10,160 --> 00:44:13,760
Speaker 2: I didn't seriously start playing until yeah really yeah, late teens,

748
00:44:13,800 --> 00:44:16,839
Speaker 2: early twenties. I like that though, because it reminds people

749
00:44:16,960 --> 00:44:20,799
Speaker 2: that it's never too late. Yeah, never too late, yeah

750
00:44:21,040 --> 00:44:23,799
Speaker 2: never never never. That's great. Yeah, it's never too late

751
00:44:23,840 --> 00:44:25,600
Speaker 2: to start playing. It doesn't matter how old you are.

752
00:44:25,719 --> 00:44:26,640
Speaker 2: That's true. I agree.

753
00:44:26,719 --> 00:44:29,000
Speaker 1: I just started taking a painting class and I'm like, yeah,

754
00:44:29,000 --> 00:44:32,080
Speaker 1: I'm never too late to get at.

755
00:44:31,320 --> 00:44:33,680
Speaker 2: That you're doing. What is it like a specific medium

756
00:44:33,719 --> 00:44:36,799
Speaker 2: like a critocrylic. Yeah, but the teacher is really great,

757
00:44:36,960 --> 00:44:39,840
Speaker 2: So it's inspired. It's just so entiring and fun. I

758
00:44:40,040 --> 00:44:45,359
Speaker 2: just think doing anything that helps us stay in our

759
00:44:45,400 --> 00:44:48,400
Speaker 2: brains and bodies and like build connections between the hemispheres

760
00:44:48,440 --> 00:44:49,880
Speaker 2: of our brains like these are, it's just like so

761
00:44:50,080 --> 00:44:52,480
Speaker 2: good to do. Not on your phone. It's so good. Yeah,

762
00:44:52,840 --> 00:44:56,040
Speaker 2: and be with people in real life. That's true. Doing something.

763
00:44:56,080 --> 00:44:59,320
Speaker 2: It's a fun group of ladies and one guy and

764
00:44:59,440 --> 00:45:05,200
Speaker 2: when one man all right, so this is this is Yeah,

765
00:45:05,600 --> 00:45:08,919
Speaker 2: I love this song. Thank you for knowing and liking

766
00:45:09,000 --> 00:45:10,920
Speaker 2: one of my songs. Oh, I love it. I love you.

767
00:45:11,080 --> 00:45:13,279
Speaker 2: I think you're amazing. I love you. I was just

768
00:45:13,400 --> 00:45:43,520
Speaker 2: late to the party. Later to the party. Yeah.

769
00:45:43,719 --> 00:45:44,640
Speaker 9: I'm a man.

770
00:45:46,640 --> 00:45:52,279
Speaker 13: Stone, bone of fat, a fly, I'm an angel of

771
00:45:52,920 --> 00:46:08,960
Speaker 13: moon into promise theme. I'm a melody and the space

772
00:46:09,160 --> 00:46:13,759
Speaker 13: between every note to swallow sings.

773
00:46:14,040 --> 00:46:17,080
Speaker 3: I'm fourteen vultures circling.

774
00:46:18,400 --> 00:46:23,440
Speaker 6: I'm the crawling, dying thing on the smoke up above

775
00:46:23,680 --> 00:46:24,360
Speaker 6: the trees.

776
00:46:24,600 --> 00:46:28,960
Speaker 13: Good Lord, five in the branch that's burning Lord.

777
00:46:29,960 --> 00:46:34,640
Speaker 3: Maybe sleeping lord, the marry.

778
00:46:34,600 --> 00:46:36,440
Speaker 2: She is now burn.

779
00:46:45,600 --> 00:46:50,920
Speaker 9: Yeah, I'm a man, I ride some born of fine,

780
00:46:51,160 --> 00:46:51,680
Speaker 9: I fly.

781
00:46:53,080 --> 00:46:59,160
Speaker 6: I'm an angel of the mold, and promise there the

782
00:46:59,360 --> 00:47:09,080
Speaker 6: dawn well bred you you.

783
00:47:16,840 --> 00:47:23,600
Speaker 3: I'm a sick light of hurricanes. I'm a violin lalla bad.

784
00:47:24,560 --> 00:47:30,120
Speaker 18: I'm six fire flies, one tree light, a sci vocating

785
00:47:30,920 --> 00:47:43,080
Speaker 18: seven nights on each of the steps on the stairwid

786
00:47:44,400 --> 00:47:47,080
Speaker 18: his shadow in the dorfrey.

787
00:47:48,120 --> 00:47:53,280
Speaker 3: I'm the taptain of a loula mouth on the StEB.

788
00:47:54,400 --> 00:47:56,440
Speaker 2: On his spre.

789
00:48:00,080 --> 00:48:07,399
Speaker 3: Mm hmmm, that his soul is s trench in their room.

790
00:48:08,160 --> 00:48:11,400
Speaker 6: And I cried back in the mouth's wood.

791
00:48:12,080 --> 00:48:16,120
Speaker 3: I came back, calling the gold on the greens.

792
00:48:16,239 --> 00:48:22,200
Speaker 6: Nowyn there, Now I fee everything.

793
00:48:23,480 --> 00:48:26,480
Speaker 3: What the hell can they bring to stide me?

794
00:48:26,600 --> 00:48:26,920
Speaker 2: Lord?

795
00:48:27,920 --> 00:48:32,320
Speaker 3: Nothing from the earth, nothing from the sick Now.

796
00:48:32,400 --> 00:48:34,400
Speaker 2: To God, I'll night.

797
00:48:34,400 --> 00:48:42,240
Speaker 7: And there I'm a mad ride show mona fight, I flying.

798
00:48:43,440 --> 00:48:49,960
Speaker 6: I'm an angel of the mon to promise the door

799
00:48:50,360 --> 00:48:50,960
Speaker 6: will be.

800
00:48:55,239 --> 00:48:59,200
Speaker 4: You you.

801
00:49:37,640 --> 00:49:42,800
Speaker 3: How loon did the screaming hack the one who.

802
00:49:42,800 --> 00:49:47,279
Speaker 7: Can be come and U on the doll.

803
00:49:47,360 --> 00:49:49,160
Speaker 2: Float round the bell.

804
00:49:49,960 --> 00:50:02,480
Speaker 3: How can and shake the and I'm the moon's dock

805
00:50:02,640 --> 00:50:05,480
Speaker 3: side the soul of flo the.

806
00:50:05,680 --> 00:50:10,360
Speaker 6: Child of there, the child of their I am the

807
00:50:10,560 --> 00:50:16,640
Speaker 6: mother of the evening Shot, I am a love the congresson.

808
00:50:17,600 --> 00:50:19,200
Speaker 2: Yeah, I'm a man, I.

809
00:50:19,600 --> 00:50:23,680
Speaker 7: Ride song, Bone of Fight, I'm.

810
00:50:23,600 --> 00:50:28,360
Speaker 3: Fly, I'm an Angel of the Moon, and.

811
00:50:29,920 --> 00:50:36,000
Speaker 6: Ramise the Dome will bring Yeah, I'm a penn ran

812
00:50:37,280 --> 00:50:43,880
Speaker 6: sobonea Fight, I'm Fly, I'm an Angel of the moon

813
00:50:44,360 --> 00:50:48,239
Speaker 6: into Ramise said the dome.

814
00:50:48,360 --> 00:50:48,760
Speaker 7: Will.

815
00:50:53,280 --> 00:51:31,040
Speaker 2: You you you you? That was pretty. I love that.

816
00:51:31,200 --> 00:51:35,520
Speaker 2: Oh me too, gets me very happy. Thanks for letting

817
00:51:35,520 --> 00:51:38,520
Speaker 2: me play that. I'm so thank you for suggesting. I'm

818
00:51:38,560 --> 00:51:41,239
Speaker 2: glad you played clarinet. It was fun. It's fun to

819
00:51:41,400 --> 00:51:43,719
Speaker 2: like and also just to reinterpret it and have it

820
00:51:44,960 --> 00:51:47,600
Speaker 2: have so much breath and like, yeah, and your heart

821
00:51:47,640 --> 00:51:50,759
Speaker 2: may sounds so beautiful. Oh, it's such a harm malicious song,

822
00:51:50,880 --> 00:51:53,719
Speaker 2: a harm malicious son for sure, for sure. For sure.

823
00:51:53,880 --> 00:51:57,640
Speaker 2: It's a heavy song too. Yeah, you know, it's also like,

824
00:51:57,880 --> 00:51:59,960
Speaker 2: weirdly in its own way, the most hopeful song maybe

825
00:52:00,040 --> 00:52:03,520
Speaker 2: I've ever written. I agree with that too, it's very hopeful.

826
00:52:05,080 --> 00:52:07,759
Speaker 2: And the reference to the evening Star, that's Ida. She

827
00:52:07,960 --> 00:52:10,320
Speaker 2: was born at seven forty nine PM and we've always

828
00:52:10,360 --> 00:52:16,840
Speaker 2: called her our evening star. That's really sweet. Yeah, have

829
00:52:16,960 --> 00:52:19,880
Speaker 2: you ever written in French. Probably a lot because you're

830
00:52:20,120 --> 00:52:24,520
Speaker 2: you're yeah, true, I've never like I'll do part sometimes

831
00:52:24,600 --> 00:52:27,160
Speaker 2: parts of songs will come out in French. I want

832
00:52:27,160 --> 00:52:29,480
Speaker 2: to do a whole French language album. I haven't done

833
00:52:29,520 --> 00:52:32,600
Speaker 2: that yet, but I want to do that at some point. Yeah,

834
00:52:32,760 --> 00:52:36,360
Speaker 2: for sure. It's different. It's so interesting, like too, I

835
00:52:36,480 --> 00:52:39,560
Speaker 2: used to be completely bilingual, and now my French is

836
00:52:39,680 --> 00:52:42,719
Speaker 2: not as good as my English, but I still I

837
00:52:42,960 --> 00:52:45,440
Speaker 2: like to like keep it up. I still, you know,

838
00:52:45,840 --> 00:52:47,759
Speaker 2: read in French and watch films in French, and I

839
00:52:47,880 --> 00:52:50,600
Speaker 2: try to, but it's hard when you're not, you know,

840
00:52:50,840 --> 00:52:55,960
Speaker 2: speaking daily. I definitely have lost some vocabulary. Does I

841
00:52:56,120 --> 00:52:58,600
Speaker 2: to have any French. She's learning a little bit, you know,

842
00:52:58,680 --> 00:53:01,799
Speaker 2: she's learning Spanish in school, and she loves Spanish. She's

843
00:53:01,840 --> 00:53:04,520
Speaker 2: obsessed with that dual Lingo app. She's on like a

844
00:53:04,640 --> 00:53:08,320
Speaker 2: nine hundred day streak. Well that's at least doing something

845
00:53:08,360 --> 00:53:12,880
Speaker 2: good screen. She's not allowed, I mean, she's she's not

846
00:53:12,920 --> 00:53:14,440
Speaker 2: allowed to have a phone yet, but she has an

847
00:53:14,480 --> 00:53:17,280
Speaker 2: iPad and she's allowed to like do dual linguin her iPad.

848
00:53:17,480 --> 00:53:22,760
Speaker 2: That's great. But she's she's eleven now and she's begging

849
00:53:22,840 --> 00:53:25,120
Speaker 2: for a phone, of course, and we're like putting an

850
00:53:25,120 --> 00:53:27,840
Speaker 2: eleven year old putting it off. Yeah, I think we

851
00:53:28,040 --> 00:53:29,480
Speaker 2: just have to be the bad guy. We have to

852
00:53:29,520 --> 00:53:31,800
Speaker 2: be the bad guy because it's like the end of

853
00:53:31,840 --> 00:53:34,439
Speaker 2: their childhood when they get a phone. Yes, it's so hard,

854
00:53:34,840 --> 00:53:37,400
Speaker 2: but I feel that way about our phones and like, oh, yeah, no,

855
00:53:37,520 --> 00:53:39,759
Speaker 2: I want I want someone to take my phone. I

856
00:53:39,760 --> 00:53:41,840
Speaker 2: want somebody to be the bad guy for me so

857
00:53:41,960 --> 00:53:43,839
Speaker 2: that I don't have to have it. I'm so sick

858
00:53:43,880 --> 00:53:47,399
Speaker 2: of it. So that's the hard stuff for me. There's

859
00:53:47,480 --> 00:53:51,520
Speaker 2: also just the tyranny of being expected to like see

860
00:53:51,560 --> 00:53:53,480
Speaker 2: things in real time and respond in real time. Yeah,

861
00:53:53,520 --> 00:53:55,880
Speaker 2: it's tricky. I don't think that's healthy for anybody. I

862
00:53:55,880 --> 00:53:58,480
Speaker 2: actually think it's really good to take time to respond

863
00:53:58,520 --> 00:54:02,399
Speaker 2: to things. Otherwise you find afully six texts that are say,

864
00:54:02,760 --> 00:54:05,120
Speaker 2: you know, you're confused by your own response until you

865
00:54:05,200 --> 00:54:09,840
Speaker 2: have a moment. That expectation of immediate gratification always in

866
00:54:09,920 --> 00:54:14,040
Speaker 2: every moment is not healthy for us. I don't think

867
00:54:14,120 --> 00:54:16,320
Speaker 2: at all. And it's not how we function. It's not

868
00:54:16,400 --> 00:54:19,640
Speaker 2: how we evolved, it's not how our brains work. Like

869
00:54:19,760 --> 00:54:22,759
Speaker 2: it's too it's not it's tyrannical to expect that to like,

870
00:54:23,719 --> 00:54:27,399
Speaker 2: you know, I don't know. I just need more time

871
00:54:27,520 --> 00:54:30,920
Speaker 2: to process things and to respond mindfully. It's definitely I

872
00:54:30,960 --> 00:54:36,960
Speaker 2: think everyone listening, everyone in this planet knows that it's

873
00:54:37,000 --> 00:54:38,439
Speaker 2: messing us up at this point.

874
00:54:38,960 --> 00:54:40,360
Speaker 9: But everybody knows, I know.

875
00:54:40,800 --> 00:54:42,359
Speaker 2: And that's when you have to just agree with each other,

876
00:54:42,440 --> 00:54:45,839
Speaker 2: like we give each other a break. Let's give each

877
00:54:45,880 --> 00:54:47,760
Speaker 2: other a break and go if we don't, it doesn't

878
00:54:47,800 --> 00:54:49,480
Speaker 2: have to be like this. Yeah, but it's a hass

879
00:54:49,520 --> 00:54:52,120
Speaker 2: of cards. You get certain things you just have to anyway,

880
00:54:52,440 --> 00:54:55,359
Speaker 2: we could go on. Everybody knows it. Everybody knows.

881
00:54:56,360 --> 00:54:58,640
Speaker 1: We just have to try to protect these little ones

882
00:54:59,000 --> 00:55:00,920
Speaker 1: from it. That's the true key part, you know.

883
00:55:01,520 --> 00:55:05,759
Speaker 2: And speaking of yeah, that's a great segue for the

884
00:55:05,880 --> 00:55:11,440
Speaker 2: next song. Yes, So when when Snead O'Connor died, I

885
00:55:11,640 --> 00:55:15,040
Speaker 2: went through I don't know that I've ever had such

886
00:55:15,040 --> 00:55:17,040
Speaker 2: an emotional reaction to the death of someone that I

887
00:55:17,120 --> 00:55:20,520
Speaker 2: did not personally know. Interesting, I don't know, it hit

888
00:55:20,600 --> 00:55:23,239
Speaker 2: me so hard. Had you been a fan very much,

889
00:55:23,760 --> 00:55:28,880
Speaker 2: very much, and you know her bravery in talking about

890
00:55:29,400 --> 00:55:33,800
Speaker 2: and singing about the abuse of children. You know, I

891
00:55:33,920 --> 00:55:35,840
Speaker 2: was a child being abused when she did that, you know,

892
00:55:36,120 --> 00:55:38,160
Speaker 2: and it was so she was one of the freedom

893
00:55:38,239 --> 00:55:42,520
Speaker 2: singers to me, like Snad O'Connor, Tracy Chapman, like hearing

894
00:55:42,560 --> 00:55:45,360
Speaker 2: Tracy Chapman's Behind the Wall. There were certain things that

895
00:55:45,520 --> 00:55:49,120
Speaker 2: for me were realizing, Okay, I'm not the only person

896
00:55:49,200 --> 00:55:54,560
Speaker 2: that's ever lived through this, and there's life on the

897
00:55:54,600 --> 00:55:56,400
Speaker 2: other side of this, and like they were, they were

898
00:55:56,440 --> 00:55:59,480
Speaker 2: freedom singers to me. They were like beacons of hope

899
00:55:59,520 --> 00:56:06,560
Speaker 2: and light. And I've admired her for years, but it

900
00:56:06,760 --> 00:56:08,480
Speaker 2: just hit me so hard when she died. And then

901
00:56:08,520 --> 00:56:10,759
Speaker 2: I went through a phase of listening to all her

902
00:56:11,160 --> 00:56:14,320
Speaker 2: recordings chronologically and there was one that I had somehow

903
00:56:14,400 --> 00:56:17,920
Speaker 2: never heard. It was an EP from I think nineteen

904
00:56:17,960 --> 00:56:21,840
Speaker 2: ninety seven called Gospel Oak and it's gorgeous EP. And

905
00:56:22,000 --> 00:56:25,360
Speaker 2: on this EP there's a song called this Is to

906
00:56:25,480 --> 00:56:28,640
Speaker 2: Mother You. And I got obsessed with this song and

907
00:56:29,440 --> 00:56:31,440
Speaker 2: listened to it over and over again and found it

908
00:56:31,560 --> 00:56:34,320
Speaker 2: so comforting. So I'm thrilled that you were game to

909
00:56:35,280 --> 00:56:37,840
Speaker 2: try to sing it. Yeah it is, Isn't it a

910
00:56:37,840 --> 00:56:42,520
Speaker 2: beautiful song? It's very beautiful and it's really just you

911
00:56:42,680 --> 00:56:46,400
Speaker 2: just think of the little child versions of yourself for

912
00:56:47,440 --> 00:56:51,800
Speaker 2: you know, and it's just it's to mother. I think about, like,

913
00:56:51,920 --> 00:56:54,600
Speaker 2: did have you seen the movie Wicked? Not yet? Okay,

914
00:56:54,640 --> 00:56:57,200
Speaker 2: I've been waiting for my kids to Like I've been

915
00:56:57,239 --> 00:56:58,759
Speaker 2: trying to get my kids to go see it, and

916
00:56:58,960 --> 00:57:00,680
Speaker 2: you know, it's so long. We've been trying to fit

917
00:57:00,760 --> 00:57:03,799
Speaker 2: it in. I know it is, It's just long. When

918
00:57:03,840 --> 00:57:06,799
Speaker 2: I was during the Hadestown run my cat, we went

919
00:57:06,880 --> 00:57:08,880
Speaker 2: together as a cast, we rented a theater and we

920
00:57:08,960 --> 00:57:11,000
Speaker 2: went together as a cast, and Ida was in town

921
00:57:11,080 --> 00:57:14,600
Speaker 2: for that. My daughter and came with us to see it,

922
00:57:14,719 --> 00:57:17,280
Speaker 2: and everybody dressed up like it was like total cost

923
00:57:17,640 --> 00:57:22,000
Speaker 2: like Broadway actor, you know, and I and watching it

924
00:57:22,080 --> 00:57:24,320
Speaker 2: with my daughter and the whole cast. It was just

925
00:57:24,640 --> 00:57:26,800
Speaker 2: so joyful. But anyway, I'm not gonna spoil. There's a

926
00:57:26,840 --> 00:57:29,400
Speaker 2: specific moment I want to speak on that I've seen

927
00:57:29,440 --> 00:57:32,040
Speaker 2: the musical on Broadway. Okay, So if you haven't seen

928
00:57:32,080 --> 00:57:33,520
Speaker 2: the movie, there's a moment in the movie that I

929
00:57:33,560 --> 00:57:39,040
Speaker 2: won't give yeah, okay, But anyway that this song relates to, Okay, yeah,

930
00:57:39,800 --> 00:57:43,400
Speaker 2: I mean I think of little Shanade too, no, and

931
00:57:43,640 --> 00:57:47,240
Speaker 2: just you know that she I think about her being

932
00:57:47,320 --> 00:57:50,080
Speaker 2: like thirty years ahead of the me too curve, you know,

933
00:57:50,160 --> 00:57:55,480
Speaker 2: and and and being vilified, yeah, villified for speaking the

934
00:57:55,560 --> 00:57:57,800
Speaker 2: truth for what we now all can admit is the truth.

935
00:57:58,360 --> 00:58:02,680
Speaker 2: But at the time people couldn't even like iconoclastic people

936
00:58:02,680 --> 00:58:04,920
Speaker 2: at the time were throwing her under the bus, you know.

937
00:58:05,720 --> 00:58:08,920
Speaker 2: And I think about that, the loneliness of being the

938
00:58:09,000 --> 00:58:12,800
Speaker 2: sort of like oracular truth teller before your time and

939
00:58:13,400 --> 00:58:17,080
Speaker 2: not having the support group and not having the circle

940
00:58:17,200 --> 00:58:19,040
Speaker 2: to hold you, you know. I mean, it must make

941
00:58:19,080 --> 00:58:21,360
Speaker 2: you feel crazy. It must make you feel crazy. And

942
00:58:21,880 --> 00:58:24,919
Speaker 2: I think about her too, that she didn't fully ever

943
00:58:25,040 --> 00:58:27,840
Speaker 2: get her flowers while she was with us, and it

944
00:58:28,000 --> 00:58:30,840
Speaker 2: wasn't until she was gone that everyone was like, oh, yeah,

945
00:58:30,960 --> 00:58:33,720
Speaker 2: that's shame, you know. And it just was, like, I know,

946
00:58:35,240 --> 00:58:40,320
Speaker 2: heartbreaking it is. And I had that feeling of I

947
00:58:40,440 --> 00:58:43,439
Speaker 2: should have like tried to seek her out or something.

948
00:58:43,480 --> 00:58:45,400
Speaker 2: You know, you have these like wild ideas in your

949
00:58:45,440 --> 00:58:47,720
Speaker 2: mind after the fact. I felt that way when Belle

950
00:58:47,720 --> 00:58:49,360
Speaker 2: Hooks died, like why didn't I go see her? She

951
00:58:49,480 --> 00:58:52,439
Speaker 2: lived in Kentucky. I live in Nashville, Tennessee. She wasn't

952
00:58:52,440 --> 00:58:54,560
Speaker 2: far away. I could have gone, Or Nikki Giovanni like

953
00:58:54,600 --> 00:58:56,120
Speaker 2: I could have tried to meet her. I could have

954
00:58:56,920 --> 00:58:59,880
Speaker 2: you know that you don't often you don't think of

955
00:59:00,000 --> 00:59:03,720
Speaker 2: these things until it's too late. Well maybe it'll you'll

956
00:59:03,960 --> 00:59:07,320
Speaker 2: go forward thinking that way. Yes, when you think of someone,

957
00:59:07,800 --> 00:59:11,760
Speaker 2: just reach out, reach out, yeah, and it'll sleep on exactly.

958
00:59:12,000 --> 00:59:14,560
Speaker 2: And I feel like that is for everyone in our life,

959
00:59:14,680 --> 00:59:17,600
Speaker 2: like to reach out to your grandma here, Yeah, every

960
00:59:17,680 --> 00:59:19,920
Speaker 2: people in our lives would you love and you appreciate

961
00:59:20,040 --> 00:59:23,360
Speaker 2: to Yeah, to reach out now, to reach out now

962
00:59:23,400 --> 00:59:25,920
Speaker 2: what we can. It's a good lesson. All right. I'm

963
00:59:25,920 --> 00:59:30,160
Speaker 2: going to pivot, all right, all right, Yeah, you're gonna

964
00:59:30,200 --> 00:59:32,240
Speaker 2: do the organ. Yeah, I'm going to try to play

965
00:59:32,280 --> 00:59:35,080
Speaker 2: this organ, which I've never played. This is so exciting,

966
00:59:36,080 --> 00:59:37,400
Speaker 2: and I think this will.

967
00:59:37,280 --> 00:59:39,360
Speaker 1: Be nice because I turned the bass down so it's

968
00:59:39,400 --> 00:59:40,560
Speaker 1: a little less overpowering.

969
00:59:43,440 --> 00:59:56,080
Speaker 2: Oh it's so pretty when you do that. Maybe we

970
00:59:56,240 --> 00:59:59,240
Speaker 2: started like that, get us that if we started like

971
00:59:59,360 --> 01:00:02,200
Speaker 2: that exact, I feel like because it's so reading, all right,

972
01:00:02,880 --> 01:00:03,360
Speaker 2: I love it.

973
01:00:32,640 --> 01:00:40,000
Speaker 9: This is to mother you, to comfort you and get

974
01:00:40,160 --> 01:00:41,160
Speaker 9: you through.

975
01:00:43,080 --> 01:00:45,200
Speaker 3: Through when your life.

976
01:00:46,440 --> 01:00:52,600
Speaker 16: Only through where your unto dreams it blue.

977
01:00:54,560 --> 01:01:06,200
Speaker 9: This is to mother you. This is to be with you,

978
01:01:07,520 --> 01:01:08,920
Speaker 9: to hold you and.

979
01:01:09,680 --> 01:01:10,800
Speaker 2: To kiss you.

980
01:01:11,240 --> 01:01:16,160
Speaker 3: To oh whny me.

981
01:01:16,560 --> 01:01:25,560
Speaker 16: I will do what your mother didn't do, which is

982
01:01:26,280 --> 01:01:27,400
Speaker 16: to mother you.

983
01:01:33,120 --> 01:01:36,520
Speaker 2: All the pain that you have no.

984
01:01:38,120 --> 01:01:45,040
Speaker 6: All the violence in your soul, all the wrong things

985
01:01:45,280 --> 01:01:46,840
Speaker 6: you have done.

986
01:01:48,240 --> 01:01:54,680
Speaker 19: I will take from you when I come, all mistakes

987
01:01:54,920 --> 01:02:04,040
Speaker 19: made and distress, all your unhappyness.

988
01:02:03,560 --> 01:02:09,439
Speaker 3: I will take away with my kids. Yes, I will

989
01:02:09,720 --> 01:02:12,760
Speaker 3: give you ten tuness.

990
01:02:14,040 --> 01:02:15,480
Speaker 7: For child.

991
01:02:15,720 --> 01:02:20,000
Speaker 17: I am so that I found you all though my

992
01:02:20,280 --> 01:02:23,720
Speaker 17: arms are always been around.

993
01:02:23,520 --> 01:02:30,280
Speaker 3: You, sweet good. All though you did not see me, I.

994
01:02:31,360 --> 01:02:40,720
Speaker 9: Saw you, and I'm here to mother you, to comfort

995
01:02:41,120 --> 01:02:44,400
Speaker 9: you and get you through.

996
01:02:46,040 --> 01:02:53,840
Speaker 16: Through there your lot so only through an your dreams

997
01:02:54,040 --> 01:02:55,800
Speaker 16: of blue.

998
01:02:57,720 --> 01:03:00,080
Speaker 3: This is to mother.

999
01:03:06,400 --> 01:03:15,840
Speaker 17: For time I soul, lad, I found you allow around you,

1000
01:03:17,080 --> 01:03:24,600
Speaker 17: see that all you did not see me. I saw you,

1001
01:03:26,520 --> 01:03:34,480
Speaker 17: and I'm here to mother you, to comfort you and

1002
01:03:35,400 --> 01:03:36,800
Speaker 17: get you through.

1003
01:03:38,680 --> 01:03:46,560
Speaker 3: Through any nights alone me through all your dreams of

1004
01:03:47,720 --> 01:03:48,280
Speaker 3: me blue.

1005
01:03:50,320 --> 01:03:59,880
Speaker 2: This is to mother you. Hmm.

1006
01:04:00,480 --> 01:04:02,960
Speaker 1: This is to move.

1007
01:04:17,880 --> 01:04:24,720
Speaker 2: That's pretty okay, cool, all right? Yeah, Oh my gosh,

1008
01:04:24,880 --> 01:04:28,240
Speaker 2: it's such a joy making music with me, hanging with you.

1009
01:04:28,960 --> 01:04:33,880
Speaker 2: I have to say thank you all. That was so awesome.

1010
01:04:34,080 --> 01:04:36,480
Speaker 2: That was so awesome. Thank you so much for making

1011
01:04:36,600 --> 01:04:40,120
Speaker 2: music with me. You know this has been an absolute

1012
01:04:40,360 --> 01:04:44,400
Speaker 2: dream and such a joy. Let's do more. Yes, please, yes, please,

1013
01:04:46,600 --> 01:04:48,000
Speaker 2: Oh thanks for joining us.

1014
01:04:48,040 --> 01:04:48,520
Speaker 9: It's great.

1015
01:04:48,600 --> 01:04:50,160
Speaker 4: I love the pump organ I know I.

1016
01:04:50,280 --> 01:04:54,880
Speaker 2: Love that song. It makes me cry. That was so fun.

1017
01:04:56,080 --> 01:04:57,880
Speaker 1: The first time we did in this episode was called

1018
01:04:57,960 --> 01:05:00,200
Speaker 1: super Lover and it's a single performed by our Elson

1019
01:05:00,280 --> 01:05:03,960
Speaker 1: Russell featuring Annie Lennox which was released in twenty twenty five,

1020
01:05:04,360 --> 01:05:06,280
Speaker 1: and it's a reimagined version of the song that was

1021
01:05:06,280 --> 01:05:09,640
Speaker 1: written by J. T. Narrow for Birds of Chicago. The

1022
01:05:09,680 --> 01:05:12,000
Speaker 1: second song we did is called Really Real and I

1023
01:05:12,120 --> 01:05:15,040
Speaker 1: sang on this song on her new album. It's from

1024
01:05:15,080 --> 01:05:17,120
Speaker 1: her new album that just came out called In the

1025
01:05:17,240 --> 01:05:20,680
Speaker 1: Hour of Chaos. Third song is her classic song night

1026
01:05:20,760 --> 01:05:24,200
Speaker 1: Flyer from Outside Child twenty twenty one, and the fourth

1027
01:05:24,280 --> 01:05:27,400
Speaker 1: song is the beautiful Shenead O'Connor song called This Is

1028
01:05:27,480 --> 01:05:30,680
Speaker 1: to Mother You from her album Gospel Oak, which was

1029
01:05:30,760 --> 01:05:34,200
Speaker 1: released in nineteen ninety seven. Special thanks to Alison Russell

1030
01:05:34,240 --> 01:05:36,240
Speaker 1: for joining us today and we'll be back next week

1031
01:05:36,360 --> 01:05:39,720
Speaker 1: with Phineas. Nora Jones is playing along as a production

1032
01:05:39,960 --> 01:05:43,240
Speaker 1: of iHeart Podcasts. Visit Nora Jones channel and be sure

1033
01:05:43,280 --> 01:05:45,720
Speaker 1: to subscribe while you're there. I'm your Host Naura Jones.

1034
01:05:46,240 --> 01:05:49,680
Speaker 1: Recorded by Matt Marinelli, mixed by Jamie Landry. Audio post

1035
01:05:49,760 --> 01:05:53,120
Speaker 1: production and mastering by Greg Tobler. Artwork by Eliza Frye.

1036
01:05:53,280 --> 01:05:57,200
Speaker 1: Photography by Shervin Linez. Produced by Nora Jones and Sarah Oda.

1037
01:05:57,440 --> 01:06:00,920
Speaker 1: Executive producers Aaron wan Kaufman and Jordan Runtalk Marketing lead

1038
01:06:01,040 --> 01:06:02,120
Speaker 1: Alison Kantri Graber.

1039
01:06:03,320 --> 01:06:10,160
Speaker 2: That's adorable. I'm adorable. It's so funny. H