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Speaker 1: Hey, and welcome to What Future.

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Speaker 2: I'm your host, Joshua Tapolski, and today we have a

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Speaker 2: very special episode. I have to say, I want to

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Speaker 2: bring it just bring it down a notch. I want

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Speaker 2: to bring it down several notches. Very special episode. You

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Speaker 2: may or may not know this, but my brother I

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Speaker 2: have a brother. First off, he may or may not

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Speaker 2: know that. His name is Eric, and he's my older brother.

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Speaker 2: Though many people say that they think I'm the older

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Speaker 2: brother because I'm so sophisticated and mature. Eric is a musician.

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Speaker 2: We've made music together, but also he's made a lot

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Speaker 2: of music separately, and he has a band. You've probably

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Speaker 2: heard me talk about before.

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Speaker 1: Maybe you haven't. I don't know. I don't know what

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Speaker 1: you've heard.

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Speaker 2: I don't even know who I'm talking to when I

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Speaker 2: say you, I'm not sure who I'm envisioning. But at

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Speaker 2: any rate, he's got a man called Tan Lines with

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Speaker 2: his friend Jesse, our friend Jesse. They've made a lot

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Speaker 2: of music and then they took a break, and they've

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Speaker 2: just recently released a new record called The Big Mess

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Speaker 2: on Merge Records, which is a great label. You know,

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Speaker 2: I say this understanding that I can't give a fair

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Speaker 2: and balanced review like a Fox News host. I can't

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Speaker 2: just go straight down the line and tell you know

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Speaker 2: the truth, but I will say my truth is I

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Speaker 2: think it's a great record and it's got really really good, smart, interesting,

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Speaker 2: sometimes funny songs on it. Again, I say this as

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Speaker 2: a as a man with a lot of personal investment

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Speaker 2: in the record, because my brother made it, you know,

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Speaker 2: and I like to support stuff he does. But I

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Speaker 2: will say forgetting that I can be a very cruel

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Speaker 2: and mean spirited brother, and I think if the record sucked,

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Speaker 2: I would definitely say it.

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Speaker 3: And it doesn't.

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Speaker 2: I really enjoy it, and so I thought it'd be

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Speaker 2: fun to have him and Jesse on the.

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Speaker 1: Podcast to talk about making.

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Speaker 2: The record and probably you know, some other things, because

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Speaker 2: they're both very interesting guys with a lot to say.

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Speaker 1: So that's what I've done.

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Speaker 2: We've got Eric and Jesse here and we're going to

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Speaker 2: talk about music and more so, let's get into it.

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Speaker 3: Now.

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Speaker 1: We're here to talk about a new record. Is that correct?

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Speaker 1: Is that?

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Speaker 3: What I'm is that what I'm to understand.

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Speaker 2: They're telling me that you guys have put out a

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Speaker 2: hot new LP. Now I haven't listened to, but everybody

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Speaker 2: on the team has listened to it and they say

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Speaker 2: it's just fantastic, just terrific stuff. So tell me a

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Speaker 2: little bit first off, tell me a little bit about

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Speaker 2: yourselves and tell me about this new album.

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Speaker 4: So this is Josh's Morning Zoo.

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Speaker 2: Right, So the tan Line has just put out this

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Speaker 2: new album and Tony, have you heard this here?

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Speaker 1: It's crazy music. I don't even know what the of

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Speaker 1: these songs are they are they? Are they singing? Are

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Speaker 1: they rapping? No one knows anyhow.

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Speaker 2: Okay, so tan Lines, you went on hiatus, you both

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Speaker 2: had several children.

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Speaker 3: Is this how you do the pod?

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Speaker 1: I just go in.

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Speaker 2: I don't do this intro shit. I'm here with Jess,

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Speaker 2: you neric from tan Lines. I don't do that shit.

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Speaker 2: That's fucking dumb. But you do it like you record

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Speaker 2: like an intro. Later later I'll do an intro, like

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Speaker 2: a little bit of me talking about like why we're

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Speaker 2: doing this podcast.

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Speaker 1: And I like that.

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Speaker 2: You've listened to the show, you know now? You know

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Speaker 2: so obviously you've listened to many I've been off podcasts

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Speaker 2: on it. Fair enough, listen, like I said, I've said,

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Speaker 2: yet to listen. I sit down and put the album on.

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Speaker 2: You know, but I heard there's some great tunes on it.

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Speaker 2: I've told there's some great music on that thing. You

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Speaker 2: heard the test Press. I've heard all of it. I've

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Speaker 2: heard the album many times. We have it down at

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Speaker 2: the store. We put it on, you know, and it's

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Speaker 2: like that scene in High Fidelity when Jack Black puts

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Speaker 2: on with some whatever records. I'm obscure. It's like, I

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Speaker 2: don't know, it's Jesus Lizard or something. Everybody's like, you know,

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Speaker 2: what is this is great? And he sells six copies

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Speaker 2: of it.

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Speaker 4: But what do people buy when our album's playing?

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Speaker 2: Actually, the other day a guy bought Sounds to the

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Speaker 2: Lambs Bastick River and he passed on a Heat too

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Speaker 2: because he hadn't seen the movie yet, which is strange

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Speaker 2: to me because he was like a forty year old man, so.

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Speaker 4: I've never seen Heat.

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Speaker 1: I mean that we should just do a whole show

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Speaker 1: on that.

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Speaker 2: We should just I don't want to talk about anything else,

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Speaker 2: actually except that you're I don't want to. We don't

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Speaker 2: have to get into your exact age, but let's just

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Speaker 2: say you're you're forty three, You're okay if you want

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Speaker 2: to put it out there.

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Speaker 1: That's fine. If you want your Wikipedia page.

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Speaker 2: To be updated, have had it, but please should be

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Speaker 2: so lucky. But you're a forty three year old man

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Speaker 2: in America. Yeah, and you've never seen Michael Mann's nineteen

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Speaker 2: ninety five crime drama Heat.

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Speaker 1: Is that correct?

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Speaker 4: Yeah?

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Speaker 2: That's weird, is there? And you've admitted that from the

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Speaker 2: films you've watched it something? Do you have something against

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Speaker 2: Michael Mann or do you hate great films?

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Speaker 3: Or what is it?

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Speaker 4: I think it's really long. It's like two and a

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Speaker 4: half hours. It's average nowadays.

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Speaker 2: You know, it's like, it's not eighty eight minutes like

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Speaker 2: a movie from nineteen eighty six. But you know, you

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Speaker 2: could do it. I think two sittings. Maybe I heard it.

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Speaker 2: It looks like slow and has gun violence. And I'm

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Speaker 2: not a big with Pacino and de Niro.

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Speaker 3: I'm not.

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Speaker 4: I don't really care about either of them.

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Speaker 3: You know.

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Speaker 2: Actually, I guess say something. There are some scenes of

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Speaker 2: gun violence in it. That's correct, though. I will say

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Speaker 2: the film is punctuated by gun violence, but I would

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Speaker 2: not say that's the center of the film's drama, if

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Speaker 2: that makes any sense.

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Speaker 4: I mean, I guess the allure of those two actors

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Speaker 4: doing a movie together just didn't speak to me.

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Speaker 1: That's unusual. But beyond that, I forget about the actors.

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Speaker 2: Forget about Pacino and Danira, who are of course both

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Speaker 2: Oscar winning actors, and I would say at the time

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Speaker 2: they did heat at really the top of their game.

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Speaker 1: Eric, I mean, correct me if I'm wrong.

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Speaker 4: But the Oscars famously have never been wrong.

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Speaker 3: Too. Well.

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Speaker 2: Wow, Actually, I think we're getting a little bit of

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Speaker 2: a look into what drives you know, at least some

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Speaker 2: of tan lines, at least one half of tan lines.

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Speaker 2: So we're getting a picture, a little peak behind the

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Speaker 2: curtain of a man who's it's against against nature, against

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Speaker 2: the against good things. As the wave comes crashing, you

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Speaker 2: stand unmoved.

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Speaker 1: By the motion of the sea. And I think that

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Speaker 1: says something about.

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Speaker 4: You could say that I danced to my own drum machine.

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Speaker 2: You could say that, and you have. And now it's

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Speaker 2: going to go on the promo clip for this episode.

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Speaker 2: So so you know, it's your you made, it's your

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Speaker 2: it's your show, it's your bed to make, and you've

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Speaker 2: certainly done it.

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Speaker 4: It's my epitaph.

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Speaker 2: All right, Okay, now we got now that we shook

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Speaker 2: our sillies out, as they say, I think we can

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Speaker 2: delve in to the real reason we're here. First off,

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Speaker 2: I should say up front, I guess I don't know.

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Speaker 3: I don't know.

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Speaker 2: Who's listening to this podcast that doesn't know this, but

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Speaker 2: I'm gonna just I want to put it out there

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Speaker 2: for the for the sake of transparency, I want to

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Speaker 2: fully disclose the relationship here.

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Speaker 1: Eric and I are brothers.

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Speaker 2: We grew up together in Pittsburgh, Pennsylvania, and we shared

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Speaker 2: a home for at least a few years, and we

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Speaker 2: do share parents.

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Speaker 1: True or false, all.

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Speaker 2: True, and and Jesse's just a buddy. But I think

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Speaker 2: if we told people he was related to us, they

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Speaker 2: wouldn't They would not bat an eye. They would go, yeah,

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Speaker 2: three Jews just hanging.

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Speaker 3: Out tall, one tall, three tall Jews?

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Speaker 2: Which was it? I'd understand one of the alternate names

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Speaker 2: for tan lines before you went with that. Okay, you'll

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Speaker 2: get back into it.

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Speaker 3: Here we go. Jesse was just telling me the Jews

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Speaker 3: are typically short, and I didn't really think that's that's

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Speaker 3: a thing.

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Speaker 2: I think, like a Portnoy's Complaint era, Jew is considered

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Speaker 2: to be kind of a you know, and that there's

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Speaker 2: a corridor let's you know, where there's the Jews and

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Speaker 2: popular literature are depicted like a Woody Allen.

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Speaker 3: This would be a kind of prototype exactly the example

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Speaker 3: he used. Yeah, well, Woody Allen.

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Speaker 2: But but I want to say that that the main

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Speaker 2: character of port Nooy's complaint, whose name I believe is,

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Speaker 2: I want to say Portnoy, Yes, oh port Noise complaint.

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Speaker 2: You for Rebby, He wants a heat interested. I want

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Speaker 2: to say he's described as being short, but I'm not

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Speaker 2: actually sure if that's true or not. He's he has

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Speaker 2: a short personality, that's for sure. Certainly gives short, Yes,

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Speaker 2: he's giving, he's giving short. Anyhow, Eric and I are brothers.

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Speaker 2: Jesse and I are not, and but we have worked

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Speaker 2: on music together in the past. We have worked on

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Speaker 2: Professor Murder music, a former band of yours, which you

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Speaker 2: know the other day I was listening to and I

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Speaker 2: have to say, pretty good, holds up, pretty good stuff,

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Speaker 2: pretty enjoyable.

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Speaker 4: Love that all right.

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Speaker 2: So look, we're gonna get deep inside the guts of

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Speaker 2: the music industry in your place within it. But I

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Speaker 2: want to start at the very beginning. Do you know

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Speaker 2: the official year that tan Lines became a thing. What

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Speaker 2: was it? We printed it on the shirts? Two thousand

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Speaker 2: and eight. All right, two thousand and eight.

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Speaker 1: You guys are making what I would describe as a

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Speaker 1: kind of I mean, to be honest with you, when

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Speaker 1: I first heard tan lines. Now the listener may know,

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Speaker 1: hopefully the listener knows.

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Speaker 2: You know, I used to make music. I used to

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Speaker 2: make technive music. Actually, I just released to electronic dance

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Speaker 2: songs recently in the last month or two, just for

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Speaker 2: shits and giggles, just for the hell of it, you know,

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Speaker 2: for sport.

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Speaker 1: But I used to make music.

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Speaker 2: And when you guys started making music together, I was like, oh,

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Speaker 2: they're making You guys are sort of making like dance music,

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Speaker 2: which I thought was surprising.

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Speaker 1: Well, Professor Murder had a dance vibe to it. But

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Speaker 1: I mean, Eric, you never expressed an interest in techno

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Speaker 1: music when we were working on music together.

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Speaker 3: Do you think that was do you think that was personal?

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Speaker 3: I mean, I'm thinking back to the dance group that

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Speaker 3: we had before Dan one dance track, that's true, Yeah,

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Speaker 3: going globus, that's true.

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Speaker 1: So we didn't make a lot of dance music though, you.

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Speaker 3: Know those records come up sometimes on eBay. They do?

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Speaker 3: Are they valuable?

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Speaker 1: Hey?

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Speaker 4: You know?

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Speaker 3: Also I'm trying to remember how I saw this. They're

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Speaker 3: signed photos of tan lines, you know, on eBay of me,

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Speaker 3: Like I did. I googled myself and it came up

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Speaker 3: in an eBay search, And I'm like, I have one

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Speaker 3: specific memory of like an autograph shark, Like this is

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Speaker 3: a guy that just gets everyone's autograph so he could

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Speaker 3: sell later. And this was outside the Jimmy Fallon show. Okay,

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Speaker 3: And like this guy was not a fan. I could

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Speaker 3: tell this guy goes to every show. There was a

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Speaker 3: music artist with a right, if ever I should become famous. Right,

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Speaker 3: it's like a little investment. Right, that's smart.

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Speaker 2: Actually not a lot of effort, low investment on his part,

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Speaker 2: but high reward.

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Speaker 3: Possibly.

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Speaker 4: Oh, it takes a whole day. He has to spend

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Speaker 4: the day waiting outside the Jimmy Fallon.

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Speaker 1: Sure, well he probably makes it today event you can go.

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Speaker 3: You could start at the Today show in the morning

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Speaker 3: and work all the way into doing.

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Speaker 1: The guests on the show, so he probably gets everyone's stay.

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Speaker 3: Cup.

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Speaker 4: I could think of lower effort gambles you could make.

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Speaker 4: But we also saw this in Sweden. It was every

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Speaker 4: time we played in Sweden, there were always people just

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Speaker 4: like waiting outside of the club who were asking for autographs.

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Speaker 1: It's interesting. I can think of the one time in

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Speaker 1: my life.

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Speaker 2: I think the one two times in my life I've

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Speaker 2: asked for autograph, and so I guess I kind of

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Speaker 2: understand what it feels like.

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Speaker 1: I know there are people who like to collect autographs

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Speaker 1: or get autographs. Mine was a Shagirimamoto, the creator of

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Speaker 1: Super Mario Huge at CS when I was thirteen years

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Speaker 1: old in Chicago. And the other one was John Carpenter,

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Speaker 1: who I paid for a VIP backstage meet and greet

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Speaker 1: with him because he's awesome, And I thought, when am

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Speaker 1: I going to get a chance to hang out with

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Speaker 1: John Carpenter for five seconds in a completely artificial manner,

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Speaker 1: And you know, it was where it anyhow, kise Wait

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Speaker 1: and Sweden, people were coming and asking photographs that you

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Speaker 1: didn't think we're fans.

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Speaker 4: I know they weren't.

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Speaker 2: Oh, how did you know you can't judge a book

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Speaker 2: plays They didn't come to the show. Maybe they couldn't

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Speaker 2: get in the tickets were sold out. They wanted to,

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Speaker 2: they were such huge fans, but it was too.

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Speaker 1: Late to believe me.

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Speaker 4: They weren't sold out. Actually, that was one of those

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Speaker 4: shifs in Sweden. I also remember where we got the

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Speaker 4: excuse from the promoter. They were like, oh, don't worry

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Speaker 4: about it. Everyone gets paid once a month and it's

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Speaker 4: next Monday. So that's probably why no one came.

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Speaker 2: You guys missed the doll the dole window had not

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Speaker 2: yet opened or whatever, so otherwise it would have been

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Speaker 2: a sold out show the.

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Speaker 4: Twenty ninth day. Really bad timing.

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Speaker 2: I have to say, as far as excuses go for things,

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Speaker 2: that's like a pretty pretty good one, pretty impressive. It's

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Speaker 2: not like it's not like, sorry, we didn't you know,

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Speaker 2: our promoter was out sick or something, and it's like,

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Speaker 2: because of the social politicals nature of this country, you

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Speaker 2: were unable to fill the venue.

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Speaker 3: But it's not.

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Speaker 1: It has nothing to do with you.

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Speaker 2: And completely to do with our political system and our

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Speaker 2: social care networks that we have here.

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Speaker 3: It's very interesting stuff.

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Speaker 4: I mean, I do think that the selfie has like

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Speaker 4: replaced the autograph like probably ten years ago.

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Speaker 2: I think that chained that shift happened. Yeah, and yet

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Speaker 2: there's Eric's autograph on eBay. Just waiting for someone to buy. Well,

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Speaker 2: somebody's trying to get rid of it. You know, they'd

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Speaker 2: rather have a selfie.

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Speaker 1: I find.

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Speaker 2: I find as as a former musician, one of the

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Speaker 2: most we're talking about finding an autograph on eBay. But

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Speaker 2: one thing that I've always dreaded as being in a

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Speaker 2: record store in like their dollar bin and finding my record.

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Speaker 1: That, to me is feels like a.

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Speaker 2: Very bad It's not that bad. Oh, it's happened to me.

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Speaker 2: It happened to Jerry's actually in Pittsburgh. I my one

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Speaker 2: of my records is in the dollar bin, and I

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Speaker 2: was like, you know, I deserve this, This is this

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Speaker 2: is how I feel.

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Speaker 3: I'll be happy to be any bin.

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Speaker 4: You know, that's just an opportunity to reach a new audience.

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Speaker 4: You know how hard that is in music?

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Speaker 2: Right, It's like a jack when Jack Black puts on

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Speaker 2: that record in high fidelity. Okay, anyhow, so you guys

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Speaker 2: started making music in two thousand and eight, and you

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Speaker 2: made music until what was the year where you kind

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Speaker 2: of took a break?

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Speaker 3: Twenty thirteen? Is that the right is am I saying that? Right?

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Speaker 3: Is that the right? Year?

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Speaker 4: No? Fifteen sixteen, twenty fifteen sixteen.

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Speaker 3: We played it south By Southwest twenty sixteen.

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Speaker 2: And then Trump was elected and you went on Twitter

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Speaker 2: and you said, I can't make art in a fascist dictatorship.

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Speaker 3: That didn't happen, but there was definitely a period where

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Speaker 3: I felt like we were an Obama era band.

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Speaker 1: Mmmm, so you guys stopped making music for a while.

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Speaker 2: I want to talk about this during the Trump era,

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Speaker 2: not to say there was anything political about it.

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Speaker 4: Coincided with the birth of my first born, so right,

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Speaker 4: really the band was starting to slow down a little bit.

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Speaker 4: My son was born, and I took some time back

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Speaker 4: to like be a stay at home dad basically, And

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Speaker 4: just like a lot of people, when you leave your

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Speaker 4: job to raise a family, sometimes it ends up taking

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Speaker 4: longer than you plan to get back to work.

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Speaker 2: Well, families are fairly complex, but a lot of people

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Speaker 2: don't realize how much work having a family is.

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Speaker 3: I think anybody thinking about having a family listening to

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Speaker 3: this episode should know how much we know and how

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Speaker 3: much we've seen. You mean from a family as far

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Speaker 3: as famili as our parents, as being you know on

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Speaker 3: the other side, and it's you know, something you have

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Speaker 3: to be ready for.

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Speaker 2: You know, I would have liked to have had kids

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Speaker 2: when I was a little younger. I had a child

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Speaker 2: at a I wasn't old, but older, And I don't know,

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Speaker 2: I feel like my energy levels are not what they

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Speaker 2: used to be. I was it was nine years years ago.

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Speaker 2: So whatever the math, how are the math works out

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Speaker 2: on that? Like thirty something thirty was thirty six?

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Speaker 4: Thirty six? Yeah, I mean, which is like New York,

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Speaker 4: you know, kind of right median age for a lot

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Speaker 4: of people having kids.

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Speaker 3: In New York. Yeah, right, Yeah.

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Speaker 4: My brother and sister had their kids earlier than me.

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Speaker 4: And the way my brother, whose oldest kid is twenty

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Speaker 4: one now, god, you know, he was like, yeah, you either,

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Speaker 4: you know, have your kids first and then you do

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Speaker 4: your living, you know, once they're moved out of the house,

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Speaker 4: or you do your living first and then you have

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Speaker 4: your kids. Yeah, And it seems like that's kind of

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Speaker 4: a way to think about it.

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Speaker 3: I think that's a very very practical way to think

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Speaker 3: about it. Yeah, And that I think brings us back

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Speaker 3: to the music.

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Speaker 2: So you guys were making a lot of music and

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Speaker 2: then you stopped, you had families to deal with, Like

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Speaker 2: you said, Jesse.

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Speaker 4: Not that your life stops when you have. I get it,

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Speaker 4: but it does reorient you.

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Speaker 3: Yeah, yeah, of course.

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Speaker 2: You have different priorities. I mean, that's understandable. And you

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Speaker 2: did do a little You did do some kid music

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Speaker 2: in the interim, which was cute. Just I feel like

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Speaker 2: it was a little bit of a lark. But you

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Speaker 2: guys released some children's songs at one point. Yeah, true

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Speaker 2: or false? Eric, I see you, but we did. Yeah,

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Speaker 2: you've make it a face. Not really sure why, but.

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Speaker 3: No, I do. I was a you know, document of

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Speaker 3: where we were at the time in our lives. It

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Speaker 3: was like, we wanted to make some music and this

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Speaker 3: was as much as we could really do. And we

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Speaker 3: were both doing, you know, the same kind of thing.

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Speaker 3: But can I ask something, can I deposit something? Maybe

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Speaker 3: get your response to it? Sure?

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Speaker 4: Sure.

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Speaker 2: The music industry also went through like a dramatic upheaval

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Speaker 2: in the time that you began making music to even

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Speaker 2: I mean obviously till now, but there was a that's

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Speaker 2: a really interesting era where the internet, and I frankly

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Speaker 2: like that has a lot to do with mobile devices

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Speaker 2: and phones and things like Spotify appearing, the rethinking of

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Speaker 2: the way people even engage with music. The music industry

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Speaker 2: that you we're at in twenty sixteen is pretty different

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Speaker 2: than the one that you began in two thousand and eight.

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Speaker 4: I would agree. I would say that the difference between

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Speaker 4: two thousand and eight and two thousand and sixteen, when

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Speaker 4: we kind of stopped for a while, was way bigger

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Speaker 4: changes than what's happened from twenty sixteen to now.

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Speaker 1: Right, No, I think that's right.

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Speaker 2: I mean, like many things in culture, actually, I think

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Speaker 2: twenty sixteen is a pretty good place to put a

403
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Speaker 2: pin in a bunch of cultural things that just sort

404
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Speaker 2: of continued to grow and become more all encompassing.

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Speaker 4: Two thousand and eight, we started in the talent started

406
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Speaker 4: in the MySpace era CDs big. The big thing in

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Speaker 4: that we printed our MySpace address on our first record

408
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Speaker 4: for regreta Blake is but no, that's cool, but when

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Speaker 4: we signed it is actually grown to be cool. But

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Speaker 4: when we first signed our first record deal, you know,

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Speaker 4: the big thing was selling MP three on the iTunes store,

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Speaker 4: Like that was the benchmark of how you you know,

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Speaker 4: just sold music basically right right right, yeah, iTunes sales.

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Speaker 4: I looked at my tune core recently and they're like,

415
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Speaker 4: there's iTunes sales on it. I'm always like, you know,

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Speaker 4: it's not very much, but I like, who's who bought

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Speaker 4: who bought the single?

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Speaker 1: They bought a song. This is a strange you could see.

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Speaker 4: It was like that period where like the record labels

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Speaker 4: had like sort of reluctantly accepted that, like selling digital

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00:19:32,840 --> 00:19:35,000
Speaker 4: was what they had to do because they were built

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Speaker 4: to sell physical, right, And then they had adjusted to

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Speaker 4: selling digital in the eight years since since then, obviously

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Speaker 4: streaming became the thing that they learned to accept. And

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Speaker 4: in the eight years from twenty sixteen till now or

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Speaker 4: seven years, it's not it doesn't feel that different. I mean,

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Speaker 4: TikTok is I guess a big huge difference, and social

428
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Speaker 4: media is I guess a big huge difference. But that's

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Speaker 4: a little bit more on the marketing side of things.

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Speaker 1: But isn't everything marketing to some degree?

431
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Speaker 3: Now?

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Speaker 2: Is it more than ever? I mean, maybe I don't

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Speaker 2: want to go down a rabbit hole here, but I

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Speaker 2: might for a moment. I mean you should, you know,

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Speaker 2: when you think about the progression of how we even

436
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Speaker 2: listen to music. Yes, there are all these technological changes, right,

437
00:20:21,080 --> 00:20:24,000
Speaker 2: it's streaming now versus buying an album or whatever.

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Speaker 1: But Also.

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00:20:26,480 --> 00:20:30,240
Speaker 2: What music is to people has changed in the sense

440
00:20:30,320 --> 00:20:34,399
Speaker 2: that if you go back to like pre internet and

441
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Speaker 2: pre music music being readily available on the Internet, or

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Speaker 2: things that are like music for instance, video or streaming

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Speaker 2: like content. You know, music is in many ways like

444
00:20:44,760 --> 00:20:47,359
Speaker 2: the cultural carrier. Like there's not a lot of things

445
00:20:47,400 --> 00:20:50,840
Speaker 2: that permeate culture in the way that music does it.

446
00:20:51,000 --> 00:20:55,240
Speaker 2: And it permeates through like radio and MTV, yes, of course,

447
00:20:55,680 --> 00:20:59,520
Speaker 2: but much more gate kept channels of distribution, but also

448
00:20:59,680 --> 00:21:04,159
Speaker 2: much more universal channels of distribution. Right, So in the

449
00:21:04,240 --> 00:21:09,360
Speaker 2: nineteen eighties, like your culture was music, Like people identified

450
00:21:09,440 --> 00:21:12,480
Speaker 2: culturally through music, right, I mean when you think about

451
00:21:12,480 --> 00:21:15,560
Speaker 2: the subgenres of music, right and you think about like

452
00:21:16,000 --> 00:21:19,480
Speaker 2: punk rock or you know whatever, it wasn't just like

453
00:21:19,520 --> 00:21:23,280
Speaker 2: people listened to music. They were identifying who they were

454
00:21:23,320 --> 00:21:27,080
Speaker 2: through music. And I feel maybe this is just me

455
00:21:27,440 --> 00:21:31,960
Speaker 2: randomly plucking signals out of thin air, But doesn't it

456
00:21:32,040 --> 00:21:34,720
Speaker 2: feel like what music is to people now doesn't carry

457
00:21:34,720 --> 00:21:37,240
Speaker 2: the same cultural weight in a way, Like I feel

458
00:21:37,280 --> 00:21:39,359
Speaker 2: like people listen to music to be seen listening to

459
00:21:39,480 --> 00:21:42,159
Speaker 2: music or to talk about listening to music. But I

460
00:21:42,200 --> 00:21:44,640
Speaker 2: don't know how much there's like people who define who

461
00:21:44,640 --> 00:21:47,000
Speaker 2: they are through music the way they used to. And

462
00:21:47,000 --> 00:21:48,639
Speaker 2: maybe this is just an old person talking.

463
00:21:49,359 --> 00:21:53,000
Speaker 4: I think you're wrong, really yeah, I mean I think

464
00:21:53,040 --> 00:21:58,159
Speaker 4: it's changed. But like the Internet has accelerated fandom like

465
00:21:58,680 --> 00:22:02,080
Speaker 4: in an unbelievable way across the board, and music is

466
00:22:02,119 --> 00:22:04,600
Speaker 4: probably the place where you see it most. I mean,

467
00:22:04,640 --> 00:22:05,400
Speaker 4: people identify.

468
00:22:05,520 --> 00:22:08,639
Speaker 1: But is fandom the same thing. I'm not sure it is.

469
00:22:08,680 --> 00:22:12,440
Speaker 4: So I agree with you that it's less like I'm

470
00:22:12,480 --> 00:22:14,000
Speaker 4: a punk rocker and it's.

471
00:22:13,840 --> 00:22:16,000
Speaker 2: More like I'm a Swift d Yeah, but that's a

472
00:22:16,160 --> 00:22:19,320
Speaker 2: that's a pretty big difference, of course it is, you know.

473
00:22:19,680 --> 00:22:21,320
Speaker 2: I mean, yeah, I see what you're saying. But like

474
00:22:21,359 --> 00:22:25,119
Speaker 2: I feel like Taylor Swift fandom is not the same

475
00:22:25,160 --> 00:22:29,679
Speaker 2: thing as as discovering like this world of music and

476
00:22:29,680 --> 00:22:31,600
Speaker 2: then having it at, you know, sort of shape who

477
00:22:31,640 --> 00:22:34,479
Speaker 2: you are as a person, which happened to a lot

478
00:22:34,520 --> 00:22:34,919
Speaker 2: of people.

479
00:22:35,400 --> 00:22:39,320
Speaker 4: I think it is for them. I think it's I

480
00:22:39,640 --> 00:22:42,680
Speaker 4: do think it is not that different, Like it's an identity,

481
00:22:42,960 --> 00:22:47,760
Speaker 4: you know, it's Taylor made no unintended in that case

482
00:22:48,240 --> 00:22:52,760
Speaker 4: for like, you know, a certain type of consumption that's

483
00:22:52,800 --> 00:22:55,280
Speaker 4: different than it was back in back in the day.

484
00:22:55,480 --> 00:22:59,520
Speaker 4: Like we're viewing the lens through like one particular brand

485
00:22:59,600 --> 00:23:01,840
Speaker 4: or ill right. I mean, first of all, there are

486
00:23:01,840 --> 00:23:04,320
Speaker 4: definitely people who identify as like I'm into country, I'm

487
00:23:04,320 --> 00:23:04,879
Speaker 4: into no.

488
00:23:04,960 --> 00:23:07,560
Speaker 2: Of course people still there's still people who find there,

489
00:23:07,800 --> 00:23:10,040
Speaker 2: you know, find themselves through music. But I'm saying that,

490
00:23:10,160 --> 00:23:13,240
Speaker 2: like there was a period where what was on the

491
00:23:13,320 --> 00:23:16,479
Speaker 2: radio was, Oh, just lost my video for some reason.

492
00:23:17,040 --> 00:23:19,199
Speaker 4: It's too hot. Your takes are No.

493
00:23:20,080 --> 00:23:24,080
Speaker 2: I think my camera overheated, which is unfortunate. They put

494
00:23:24,119 --> 00:23:26,199
Speaker 2: the air on in here. Maybe it's too warm in

495
00:23:26,240 --> 00:23:26,680
Speaker 2: this room.

496
00:23:26,880 --> 00:23:29,359
Speaker 4: This happened to us on stage once at Governor's Ball.

497
00:23:29,720 --> 00:23:32,400
Speaker 4: Oh really yeah, like you're what what wait?

498
00:23:32,440 --> 00:23:32,840
Speaker 1: What what?

499
00:23:33,000 --> 00:23:35,280
Speaker 4: Fan? Our computer overheated?

500
00:23:35,920 --> 00:23:36,560
Speaker 3: Overheated.

501
00:23:36,800 --> 00:23:39,280
Speaker 1: It was just like no, sorry overheated.

502
00:23:39,440 --> 00:23:42,640
Speaker 4: Yeah, no, it did an it was, but I think

503
00:23:42,720 --> 00:23:44,520
Speaker 4: the people out there thought we were doing like a

504
00:23:44,560 --> 00:23:46,320
Speaker 4: remix because it sounded all crazy.

505
00:23:47,520 --> 00:23:48,200
Speaker 1: What did you do?

506
00:23:48,400 --> 00:23:52,720
Speaker 4: We stopped the show and they brought out a fan.

507
00:23:53,160 --> 00:23:56,200
Speaker 4: They literally brought out a fan and put it on

508
00:23:56,560 --> 00:24:00,080
Speaker 4: our computer. I was like, this will never work. Yeah,

509
00:24:00,119 --> 00:24:03,080
Speaker 4: and I reset the computer and it worked and we

510
00:24:03,160 --> 00:24:05,600
Speaker 4: finished the set and like I actually learned a really

511
00:24:05,600 --> 00:24:09,520
Speaker 4: important lesson that day because I was like this is

512
00:24:09,560 --> 00:24:13,000
Speaker 4: the most mortifying and humiliating thing that can happen. The

513
00:24:13,040 --> 00:24:15,800
Speaker 4: worst has happened. We're on a big festival stage, there

514
00:24:15,800 --> 00:24:19,679
Speaker 4: are thousands of people watching us. We are completely exposed

515
00:24:19,720 --> 00:24:23,560
Speaker 4: and vulnerable because we rely on the technology. We don't

516
00:24:23,560 --> 00:24:27,040
Speaker 4: have a backup plan. That literally the worst happened. And

517
00:24:27,080 --> 00:24:30,280
Speaker 4: then everyone I talked to afterwards was like, great show,

518
00:24:30,720 --> 00:24:32,560
Speaker 4: And I was like, didn't you I was like, oh,

519
00:24:32,640 --> 00:24:34,680
Speaker 4: that was really hard. They're like, what are you talking about.

520
00:24:34,840 --> 00:24:38,720
Speaker 4: I was like, well, we had these technical problems. They're like, oh, okay, Yeah.

521
00:24:39,400 --> 00:24:41,479
Speaker 4: I was like, no one thinks about you as much

522
00:24:41,520 --> 00:24:42,359
Speaker 4: as you think about you.

523
00:24:42,640 --> 00:24:43,920
Speaker 3: And also at a.

524
00:24:43,920 --> 00:24:48,879
Speaker 4: Festival especially, it's like people paid four hundred dollars for

525
00:24:48,960 --> 00:24:51,399
Speaker 4: those weekend passes or whatever, Like they want to have

526
00:24:51,440 --> 00:24:53,360
Speaker 4: a good time, and they're going to have a good time.

527
00:24:53,320 --> 00:24:56,439
Speaker 2: So they're going to shape their own reality to just

528
00:24:56,960 --> 00:24:59,000
Speaker 2: to kind of smooth over the rough patches.

529
00:24:59,200 --> 00:25:03,640
Speaker 3: Yes, yeah, I mean that's interesting. They were very understanding

530
00:25:03,680 --> 00:25:06,080
Speaker 3: of what was happening, and I think you know, there

531
00:25:06,119 --> 00:25:08,800
Speaker 3: was a roaring applause when the computer booted up and

532
00:25:08,840 --> 00:25:09,560
Speaker 3: we went back right.

533
00:25:09,640 --> 00:25:11,520
Speaker 2: Yeah, let's sort of I get that. It's sort of

534
00:25:11,560 --> 00:25:16,080
Speaker 2: in a way you overcame you all together overcame a

535
00:25:16,119 --> 00:25:17,600
Speaker 2: difficulty to party.

536
00:25:17,640 --> 00:25:17,880
Speaker 3: Odd.

537
00:25:18,480 --> 00:25:20,120
Speaker 1: There were like ten awkward minutes.

538
00:25:20,320 --> 00:25:23,119
Speaker 4: I don't think most people really knew or understood.

539
00:25:23,760 --> 00:25:24,240
Speaker 1: What'd you do?

540
00:25:24,280 --> 00:25:26,679
Speaker 3: It was ten minutes. It was ten minutes. I don't know.

541
00:25:26,840 --> 00:25:28,840
Speaker 3: It felt like an eternity, but it was probably.

542
00:25:29,280 --> 00:25:32,800
Speaker 4: Yeah, it was certainly like too long.

543
00:25:33,119 --> 00:25:33,520
Speaker 3: Yeah.

544
00:25:33,720 --> 00:25:35,840
Speaker 2: Yeah, Now you can just plug in an iPhone. You'd

545
00:25:35,840 --> 00:25:38,240
Speaker 2: be fine. You have something, you have something else with

546
00:25:38,280 --> 00:25:38,800
Speaker 2: songs on it.

547
00:25:38,880 --> 00:25:41,640
Speaker 3: Right, we always had that and we never used it once.

548
00:25:41,960 --> 00:25:44,280
Speaker 3: I don't know why we didn't. We always had like

549
00:25:44,320 --> 00:25:46,560
Speaker 3: an iPod or we had a backup for a while

550
00:25:46,680 --> 00:25:48,440
Speaker 3: that we ever did come back. Yeah.

551
00:25:48,480 --> 00:25:51,119
Speaker 1: So getting back to the music thing, Yeah, yeah.

552
00:25:51,240 --> 00:25:53,320
Speaker 2: To me, when I think about the industry of music,

553
00:25:53,359 --> 00:25:56,679
Speaker 2: I think it's like one of the hardest, ugliest, you know,

554
00:25:56,840 --> 00:26:01,040
Speaker 2: most difficult places to create art. It's a real industry

555
00:26:01,040 --> 00:26:03,239
Speaker 2: of haves and have not. I mean, everybody everything is

556
00:26:03,240 --> 00:26:06,359
Speaker 2: to some extent, but music is especially like brutal in

557
00:26:06,359 --> 00:26:08,600
Speaker 2: the sense that you're kind of putting your A lot

558
00:26:08,680 --> 00:26:10,960
Speaker 2: of people are putting their like heart and soul into

559
00:26:10,960 --> 00:26:14,880
Speaker 2: this piece of work, and often like it's really performance art, right,

560
00:26:14,960 --> 00:26:17,000
Speaker 2: like you have to perform it, like in many ways

561
00:26:17,080 --> 00:26:20,960
Speaker 2: you have to literally perform it, and a lot a

562
00:26:20,960 --> 00:26:22,520
Speaker 2: lot happening in this question.

563
00:26:22,600 --> 00:26:25,120
Speaker 1: It it's just the way music had changed.

564
00:26:25,160 --> 00:26:29,159
Speaker 2: Have any impact on your decision to step back to

565
00:26:29,280 --> 00:26:31,720
Speaker 2: focus on other things? Was there any bit of that

566
00:26:31,920 --> 00:26:33,920
Speaker 2: those in that decision? Was there any bit of like,

567
00:26:34,160 --> 00:26:36,840
Speaker 2: you know, it's hard to juggle both things, But does

568
00:26:36,880 --> 00:26:38,920
Speaker 2: it feel like the landscape went and moved in a

569
00:26:38,960 --> 00:26:41,000
Speaker 2: different you know, in a way that you guys, I

570
00:26:41,040 --> 00:26:42,119
Speaker 2: don't know, didn't like.

571
00:26:42,320 --> 00:26:45,040
Speaker 4: No, I'll give my answer, then Eric can give his,

572
00:26:45,200 --> 00:26:48,600
Speaker 4: which is I don't think the landscape shifted in the

573
00:26:48,680 --> 00:26:51,880
Speaker 4: sense for the decision. I think it's always been hard

574
00:26:51,960 --> 00:26:55,160
Speaker 4: for people to make music their living and their job,

575
00:26:55,680 --> 00:26:58,960
Speaker 4: whether it's two thousand and eight or nineteen eighty five

576
00:26:59,160 --> 00:27:03,639
Speaker 4: or twenty twenty three. So I do think that it

577
00:27:03,760 --> 00:27:07,240
Speaker 4: factored into my decision about wanted to take a step back.

578
00:27:08,040 --> 00:27:11,439
Speaker 4: It factored into my day to day decision making. It's like,

579
00:27:11,520 --> 00:27:13,560
Speaker 4: do I want to hire a babysitter for eight hours

580
00:27:13,600 --> 00:27:16,119
Speaker 4: to go over to the studio with Eric and like

581
00:27:16,440 --> 00:27:17,280
Speaker 4: maybe write a.

582
00:27:17,240 --> 00:27:19,040
Speaker 1: Song right kind of a luxury?

583
00:27:19,160 --> 00:27:21,879
Speaker 4: That seemed like a hard thing to do, But in

584
00:27:22,000 --> 00:27:24,359
Speaker 4: terms of what you're saying, like in the ways that

585
00:27:24,440 --> 00:27:28,119
Speaker 4: it changed. I don't remember feeling like, hey, man, if

586
00:27:28,160 --> 00:27:30,320
Speaker 4: it was two thousand and five, then we could sell

587
00:27:30,320 --> 00:27:34,600
Speaker 4: these CDs, I'd be right back out there. But nowadays,

588
00:27:34,640 --> 00:27:38,639
Speaker 4: with the Spotify and the no I don't remember thinking that.

589
00:27:38,960 --> 00:27:41,080
Speaker 4: I mean it was hard in two thousand and five too.

590
00:27:41,240 --> 00:27:44,199
Speaker 4: I mean it was never an easy thing. So I

591
00:27:44,240 --> 00:27:47,639
Speaker 4: don't remember feeling like, you know, there's other artists that

592
00:27:47,720 --> 00:27:50,600
Speaker 4: might disagree with me, people who made a living off

593
00:27:50,640 --> 00:27:53,640
Speaker 4: of CDs, which like I never did, so right.

594
00:27:53,560 --> 00:27:55,160
Speaker 1: You didn sell a lot of CDs that we're saying.

595
00:27:55,160 --> 00:27:58,240
Speaker 4: I never like lived through the era of like, oh

596
00:27:58,320 --> 00:28:01,080
Speaker 4: I sold my record enough time? Is that like that's

597
00:28:01,119 --> 00:28:05,240
Speaker 4: where my income comes from. So I don't remember feeling like, oh,

598
00:28:05,320 --> 00:28:06,720
Speaker 4: things have changed in the way I don't really want

599
00:28:06,720 --> 00:28:08,520
Speaker 4: to do this anymore. I was more just like, oh,

600
00:28:08,520 --> 00:28:10,840
Speaker 4: I have these other responsibilities. This is a hard way

601
00:28:10,880 --> 00:28:12,760
Speaker 4: to make a living. I want to find a way

602
00:28:12,800 --> 00:28:14,240
Speaker 4: to make music, but I don't know if I want

603
00:28:14,280 --> 00:28:16,240
Speaker 4: to organize my whole life around it or not.

604
00:28:16,920 --> 00:28:19,040
Speaker 3: Right, I mean, Eric, do you have a response to

605
00:28:19,080 --> 00:28:22,639
Speaker 3: this question. Yeah, I mean, it's not the kind of

606
00:28:22,680 --> 00:28:26,479
Speaker 3: business you can expect to have a paternity leave package

607
00:28:26,520 --> 00:28:29,760
Speaker 3: from so right, I don't know pretty much. I agree

608
00:28:29,800 --> 00:28:30,880
Speaker 3: with everything Jessie said.

609
00:28:42,520 --> 00:28:44,480
Speaker 4: We're not talking about the like do I want to

610
00:28:44,560 --> 00:28:47,320
Speaker 4: keep making music in some form or another? Like do

611
00:28:47,360 --> 00:28:49,760
Speaker 4: I want to keep writing songs? Like that's a constant

612
00:28:49,840 --> 00:28:51,520
Speaker 4: I think, I mean, I think we know the answer

613
00:28:51,560 --> 00:28:54,000
Speaker 4: because you just released a new record. Yeah, but even

614
00:28:54,080 --> 00:28:56,440
Speaker 4: without doing a new record. It's like the discussion we're

615
00:28:56,440 --> 00:28:58,440
Speaker 4: having is about like the job of it, I think,

616
00:28:58,480 --> 00:29:00,040
Speaker 4: more than the art of it.

617
00:29:00,240 --> 00:29:03,720
Speaker 3: Right, Yeah, there are plenty of people who make records

618
00:29:04,000 --> 00:29:06,880
Speaker 3: you know, at home for themselves after eight and they

619
00:29:07,000 --> 00:29:07,840
Speaker 3: enjoy it very much.

620
00:29:07,920 --> 00:29:09,360
Speaker 1: Yeah, like it and that's good enough.

621
00:29:09,440 --> 00:29:10,080
Speaker 3: That's what I do.

622
00:29:10,120 --> 00:29:10,600
Speaker 1: That's what I do.

623
00:29:10,720 --> 00:29:13,680
Speaker 3: Yeah, yeah, and you don't need other parts of it.

624
00:29:13,800 --> 00:29:17,200
Speaker 2: Well, what I what I discovered is is what if

625
00:29:17,200 --> 00:29:19,760
Speaker 2: I was making music just like for fun?

626
00:29:20,240 --> 00:29:22,400
Speaker 3: If it was just for fun? Yeah?

627
00:29:22,480 --> 00:29:24,600
Speaker 2: Anyhow, Sorry, I didn't mean to get into this like thing.

628
00:29:24,640 --> 00:29:26,720
Speaker 2: And maybe it's my thing honestly because I think about

629
00:29:26,720 --> 00:29:29,400
Speaker 2: it a lot about like doing jobs that are the

630
00:29:29,440 --> 00:29:31,840
Speaker 2: things that you're passionate about, and what it's like to

631
00:29:31,880 --> 00:29:35,920
Speaker 2: turn something that you feel really strongly about, like creatively

632
00:29:36,000 --> 00:29:40,520
Speaker 2: into something that becomes you know, work, which maybe this

633
00:29:40,640 --> 00:29:44,320
Speaker 2: is well trod territory, but I think it's yeah, you know,

634
00:29:44,400 --> 00:29:45,440
Speaker 2: I just think it's interesting.

635
00:29:45,720 --> 00:29:48,080
Speaker 3: It's a bad business, and I wouldn't encourage anybody to

636
00:29:48,080 --> 00:29:50,240
Speaker 3: do it unless they felt like it was their calling

637
00:29:50,320 --> 00:29:53,040
Speaker 3: and they were passionate about it and wanted to do

638
00:29:53,120 --> 00:29:54,640
Speaker 3: it no matter what. And that's what you kind of

639
00:29:54,680 --> 00:29:56,880
Speaker 3: have to think, like, you know, like you're like, this

640
00:29:56,920 --> 00:29:59,720
Speaker 3: is what I do right, right, You kind of have

641
00:29:59,760 --> 00:30:01,920
Speaker 3: to have that attitude, especially if you're going as long

642
00:30:01,960 --> 00:30:05,680
Speaker 3: as like, you know, I personally feel like I am right.

643
00:30:05,880 --> 00:30:07,840
Speaker 1: Well, I mean, you've been in bands since how old

644
00:30:07,840 --> 00:30:09,040
Speaker 1: were you when you were in your first act?

645
00:30:09,040 --> 00:30:10,040
Speaker 4: I've done in my whole life.

646
00:30:10,040 --> 00:30:11,480
Speaker 3: It's all I know how to do. It's all that

647
00:30:11,560 --> 00:30:12,239
Speaker 3: I do well.

648
00:30:12,280 --> 00:30:14,080
Speaker 2: I mean, you and I used to play music together

649
00:30:14,120 --> 00:30:16,520
Speaker 2: in our basement when we were teenagers, like like young

650
00:30:16,800 --> 00:30:18,640
Speaker 2: teenager when I got old.

651
00:30:18,680 --> 00:30:21,320
Speaker 3: Were you in your first band? Like, first real band

652
00:30:21,440 --> 00:30:24,600
Speaker 3: was it Don Cab? I was Storm and Stress. Storm

653
00:30:24,600 --> 00:30:26,600
Speaker 3: and Stress was pre right pre Don Cabin And that's

654
00:30:26,640 --> 00:30:27,600
Speaker 3: the first real band.

655
00:30:27,680 --> 00:30:30,120
Speaker 4: Yeah, there was no brother's band. You guys never did

656
00:30:30,160 --> 00:30:30,720
Speaker 4: show together.

657
00:30:31,000 --> 00:30:32,280
Speaker 1: We jammed and played.

658
00:30:32,320 --> 00:30:33,600
Speaker 3: We played a block party.

659
00:30:33,760 --> 00:30:35,680
Speaker 1: Right played the block party. We did Battle of the

660
00:30:35,720 --> 00:30:36,520
Speaker 1: Bands in Mount Leban.

661
00:30:36,640 --> 00:30:38,600
Speaker 4: Tell me about them. What it was your set?

662
00:30:39,200 --> 00:30:41,640
Speaker 3: We just talked. I just saw Scott. Did I tell you?

663
00:30:41,920 --> 00:30:45,080
Speaker 3: Did I tell old friends Scott? The first thing he

664
00:30:45,160 --> 00:30:47,200
Speaker 3: mentioned to me was, honestly, even right now, I can't

665
00:30:47,200 --> 00:30:48,760
Speaker 3: remember the name of the band is something vulgar.

666
00:30:48,840 --> 00:30:51,800
Speaker 1: But remember when we did the thing at the Battle

667
00:30:51,840 --> 00:30:52,240
Speaker 1: of the Band.

668
00:30:52,360 --> 00:30:54,600
Speaker 2: Yeah, it was like the name of the band was

669
00:30:54,640 --> 00:30:58,520
Speaker 2: something like a lot of Dysentery or something.

670
00:30:59,480 --> 00:31:00,920
Speaker 1: Of the band was lot of dissentery.

671
00:31:02,640 --> 00:31:04,400
Speaker 2: I don't even have to I can't believe I fucking

672
00:31:04,440 --> 00:31:06,240
Speaker 2: remembered it because I remember almost nothing.

673
00:31:06,560 --> 00:31:09,160
Speaker 3: He remembered all the songs. He's like, I remember bagels

674
00:31:09,200 --> 00:31:11,320
Speaker 3: and cream cheese. You know we do the do we

675
00:31:11,360 --> 00:31:13,760
Speaker 3: do six sixty six? The beast inside of me who

676
00:31:13,840 --> 00:31:16,600
Speaker 3: was singing. Scott was our singer. He was a wild man,

677
00:31:16,800 --> 00:31:17,920
Speaker 3: still is a wild.

678
00:31:17,760 --> 00:31:19,400
Speaker 2: Did he do any of our songs that we You

679
00:31:19,440 --> 00:31:21,640
Speaker 2: and I did that we we can't. We Eric and

680
00:31:21,680 --> 00:31:24,320
Speaker 2: I had did like fake No, we had our own songs. Yeah,

681
00:31:24,360 --> 00:31:26,440
Speaker 2: we had on like thrash songs. This is Eric on

682
00:31:26,480 --> 00:31:30,000
Speaker 2: guitar and you on drums. Yeah, and I think me

683
00:31:30,160 --> 00:31:33,640
Speaker 2: singing in different for different songs. When we were first

684
00:31:33,640 --> 00:31:38,000
Speaker 2: playing in our basement, the songs were like I would say,

685
00:31:38,000 --> 00:31:40,719
Speaker 2: we were sort of joking. The songs were all funny,

686
00:31:40,840 --> 00:31:46,040
Speaker 2: like kind of like sludgy metal, like demonic metal, sort

687
00:31:46,080 --> 00:31:47,800
Speaker 2: of related things.

688
00:31:47,880 --> 00:31:50,520
Speaker 3: Wanting to be serious, but with like enough self awareness

689
00:31:50,520 --> 00:31:52,480
Speaker 3: that you're not really that thing, right.

690
00:31:52,400 --> 00:31:54,840
Speaker 2: Like one of the songs six six and then in

691
00:31:54,880 --> 00:31:57,800
Speaker 2: parentheses the beast inside of me that was the and

692
00:31:58,080 --> 00:31:59,040
Speaker 2: I wasn't serious.

693
00:31:59,080 --> 00:32:00,800
Speaker 1: I mean I was thirteen or something. It was I

694
00:32:00,800 --> 00:32:01,560
Speaker 1: thought fun funny.

695
00:32:01,600 --> 00:32:04,200
Speaker 3: It seemed funny like some like some forty one like

696
00:32:04,280 --> 00:32:06,680
Speaker 3: it was kind of but not some forty one style music.

697
00:32:06,720 --> 00:32:09,400
Speaker 2: It was very different than that. But they obviously weren't

698
00:32:09,400 --> 00:32:12,200
Speaker 2: taking themselves too seriously. Yeah, but I don't know if

699
00:32:12,200 --> 00:32:14,520
Speaker 2: we performed any of those anyhow. Yeah, we played Battle

700
00:32:14,520 --> 00:32:16,160
Speaker 2: of the Bands. Eric and I didn't make music together

701
00:32:16,240 --> 00:32:19,160
Speaker 2: till we were till we were much older, till he

702
00:32:19,200 --> 00:32:21,040
Speaker 2: had had a music career and I'd had a music

703
00:32:21,080 --> 00:32:25,480
Speaker 2: career separately, aside from Flood of dysentery. Flood of dysentery,

704
00:32:25,520 --> 00:32:28,960
Speaker 2: which was just for fun. It was for I think

705
00:32:29,040 --> 00:32:31,120
Speaker 2: It started with me and Eric playing and then there

706
00:32:31,160 --> 00:32:33,600
Speaker 2: was some battle of the bands in a suburb where

707
00:32:33,640 --> 00:32:37,320
Speaker 2: our friends went to high school, and we were like

708
00:32:37,360 --> 00:32:38,920
Speaker 2: we should do it, and it was like the It

709
00:32:38,960 --> 00:32:41,400
Speaker 2: was like three of Eric's friends and me playing drums

710
00:32:41,840 --> 00:32:44,560
Speaker 2: and Eric and it was nobody was taking it seriously.

711
00:32:44,560 --> 00:32:47,120
Speaker 2: It was a complete joke. It was like it was

712
00:32:47,120 --> 00:32:49,640
Speaker 2: something to do. It was the culture that that that

713
00:32:49,800 --> 00:32:53,200
Speaker 2: begat jackass, that was that we also we were doing.

714
00:32:53,240 --> 00:32:55,920
Speaker 2: We were like skating And there was a famous story

715
00:32:55,920 --> 00:32:57,760
Speaker 2: about one of Eric's friends that he went into uh

716
00:32:58,320 --> 00:33:00,480
Speaker 2: he went into like Weddy's in order to frauds and

717
00:33:00,520 --> 00:33:02,400
Speaker 2: then when he got the frosty, he smashed it into

718
00:33:02,400 --> 00:33:05,360
Speaker 2: his face and you know, every thought it was like

719
00:33:05,440 --> 00:33:09,720
Speaker 2: amazing because it was just so stupid. And I think,

720
00:33:09,840 --> 00:33:11,640
Speaker 2: like that's kind of like the vibe. It was like

721
00:33:12,200 --> 00:33:15,440
Speaker 2: amazing because it was so stupid. As how my memory, Eric,

722
00:33:15,440 --> 00:33:20,200
Speaker 2: does this sound wrong? My misremembering sounds hazy, hazy, hazy.

723
00:33:20,360 --> 00:33:23,120
Speaker 2: It was a pretty specific memory for me, honestly.

724
00:33:22,680 --> 00:33:25,360
Speaker 1: But I have a vague memory, a vague memory.

725
00:33:25,480 --> 00:33:27,600
Speaker 3: Jess, you kind of have a skeptical look on your face.

726
00:33:27,600 --> 00:33:28,760
Speaker 3: I'm trying to figure out, Oh.

727
00:33:28,600 --> 00:33:32,800
Speaker 4: Oh, you guys sound like really cool, dumb teenagers and

728
00:33:32,960 --> 00:33:36,080
Speaker 4: doing those things. That sounds great, And you were not sarcasm.

729
00:33:36,160 --> 00:33:39,080
Speaker 4: Now you're sarcastic right now. No, I'm saying. You were

730
00:33:39,080 --> 00:33:41,360
Speaker 4: saying how you missed doing it for fun, and then

731
00:33:41,480 --> 00:33:44,080
Speaker 4: you immediately told this story about when you did it

732
00:33:44,120 --> 00:33:46,040
Speaker 4: for fun. Yeah, totally for fun.

733
00:33:46,440 --> 00:33:49,200
Speaker 3: But I think like even at a professional level, you

734
00:33:49,280 --> 00:33:51,200
Speaker 3: kind of have to approach it as like a thing

735
00:33:51,280 --> 00:33:53,680
Speaker 3: you enjoy, and the reward of it is like you

736
00:33:53,720 --> 00:33:56,800
Speaker 3: get to do a thing that's fun for your job, right. Yeah,

737
00:33:56,840 --> 00:33:59,600
Speaker 3: So for me that's like I'm not I'm not. I

738
00:33:59,600 --> 00:34:02,440
Speaker 3: don't feel guilty when I'm having fun making a song, right.

739
00:34:02,480 --> 00:34:03,760
Speaker 2: But the inverse of that is the thing you do

740
00:34:03,800 --> 00:34:06,440
Speaker 2: for fun becomes a job, right, And like when things

741
00:34:06,480 --> 00:34:09,680
Speaker 2: become a job, they often become less fun.

742
00:34:09,840 --> 00:34:13,400
Speaker 4: It is weird, like with music that it's one of

743
00:34:13,440 --> 00:34:16,720
Speaker 4: the few things where it's like success is determined by

744
00:34:16,880 --> 00:34:21,240
Speaker 4: just being able to make any living off of it, right.

745
00:34:21,880 --> 00:34:24,480
Speaker 3: Not being too stupid rich, but like, yeah, oh, I

746
00:34:24,480 --> 00:34:26,040
Speaker 3: don't have a I don't have a day job.

747
00:34:26,120 --> 00:34:28,360
Speaker 4: I just do this, right. There's a lot of careers,

748
00:34:28,360 --> 00:34:31,000
Speaker 4: creative careers that are like that, and you know, I

749
00:34:31,040 --> 00:34:33,520
Speaker 4: tell people, well, I was most was my job for

750
00:34:33,719 --> 00:34:35,920
Speaker 4: almost ten years, and people are like, oh my god.

751
00:34:36,000 --> 00:34:38,360
Speaker 4: And it does actually put I would say, yes, in

752
00:34:38,480 --> 00:34:43,360
Speaker 4: the top percentage of for sure musicians in the world.

753
00:34:43,800 --> 00:34:44,360
Speaker 1: That's correct.

754
00:34:44,360 --> 00:34:46,680
Speaker 2: There's a vassie of people who would love to make

755
00:34:46,719 --> 00:34:48,719
Speaker 2: a living, any kind of living ever, on music and

756
00:34:48,719 --> 00:34:49,440
Speaker 2: will never do it.

757
00:34:49,480 --> 00:34:52,560
Speaker 4: And I felt it very, very, very fortunate to be

758
00:34:52,600 --> 00:34:55,279
Speaker 4: able to live that life for the time that I

759
00:34:55,400 --> 00:34:59,200
Speaker 4: was able to do that. But what does that say

760
00:34:59,239 --> 00:35:04,319
Speaker 4: about the how we value music? You know, it's you know,

761
00:35:04,360 --> 00:35:07,319
Speaker 4: I can't help but feel like music is sort of

762
00:35:07,640 --> 00:35:11,719
Speaker 4: returned in some ways to this pre commercial era when

763
00:35:11,719 --> 00:35:15,520
Speaker 4: it was just like music existed in your life because

764
00:35:15,600 --> 00:35:19,200
Speaker 4: there were people playing it. And I think as an industry,

765
00:35:19,719 --> 00:35:22,640
Speaker 4: we've it's just sort of coalesced on so few, so

766
00:35:22,840 --> 00:35:25,880
Speaker 4: few people, right that now the majority of music is

767
00:35:25,920 --> 00:35:28,000
Speaker 4: just something that exists around us.

768
00:35:28,760 --> 00:35:30,000
Speaker 1: Oh that's interesting, actually.

769
00:35:30,000 --> 00:35:33,880
Speaker 2: I mean I had this singer and songwriter Penelope Scott

770
00:35:33,920 --> 00:35:37,080
Speaker 2: on the show, and I became like obsessed with her music.

771
00:35:37,080 --> 00:35:39,760
Speaker 2: I just think it's super fucking interesting. It's extremely weird,

772
00:35:40,360 --> 00:35:42,160
Speaker 2: and it's like a mixture of like folk music and

773
00:35:42,320 --> 00:35:47,040
Speaker 2: chiptune stuff, and you know, she got popular on TikTok,

774
00:35:47,719 --> 00:35:50,160
Speaker 2: But like I think, to ninety nine out of one

775
00:35:50,200 --> 00:35:52,799
Speaker 2: hundred people that I mentioned her too, nobody knows who

776
00:35:52,800 --> 00:35:55,440
Speaker 2: she is, and yet she has a following where she

777
00:35:55,440 --> 00:35:57,799
Speaker 2: does shows. And I mean, you know, maybe I'm like

778
00:35:57,880 --> 00:36:00,840
Speaker 2: countering the point that I made earlier about you know,

779
00:36:00,880 --> 00:36:03,319
Speaker 2: how we identify ourselves to music or whatever. Maybe it's

780
00:36:03,320 --> 00:36:06,759
Speaker 2: more possible than ever because there's more music than ever, right,

781
00:36:06,800 --> 00:36:09,759
Speaker 2: I mean, we're we're a wash in new music, in

782
00:36:09,920 --> 00:36:14,640
Speaker 2: different music, and you can reach more people like than

783
00:36:14,800 --> 00:36:18,840
Speaker 2: ever before. When you were making music, Eric, at the beginning,

784
00:36:18,880 --> 00:36:21,799
Speaker 2: it's like, to find Eric's music, you had to be

785
00:36:22,360 --> 00:36:26,960
Speaker 2: somebody who read a weird newspapers or magazines or listened

786
00:36:27,000 --> 00:36:29,440
Speaker 2: to lived in a place that had a record store.

787
00:36:29,920 --> 00:36:32,880
Speaker 2: Like the barrier to finding that music was so high.

788
00:36:33,040 --> 00:36:37,759
Speaker 2: Right now it's insanely low. But we have this inverse

789
00:36:37,920 --> 00:36:40,799
Speaker 2: situation where it's just like, you know, there might be

790
00:36:40,880 --> 00:36:42,799
Speaker 2: millions and millions and millions of people who know that

791
00:36:42,880 --> 00:36:45,640
Speaker 2: song of that artist you were talking about, who have

792
00:36:45,719 --> 00:36:46,520
Speaker 2: no idea who sang it.

793
00:36:46,680 --> 00:36:48,600
Speaker 1: That's correct, and that is actually that is the case.

794
00:36:48,640 --> 00:36:50,480
Speaker 2: And we talked a bit about the kind of way

795
00:36:50,520 --> 00:36:53,319
Speaker 2: that music spreads on TikTok and how people remix it

796
00:36:53,360 --> 00:36:55,080
Speaker 2: and use it in all these different contexts. And it's

797
00:36:55,160 --> 00:36:57,560
Speaker 2: like the that's I mean, I don't know, that's the

798
00:36:57,560 --> 00:36:59,680
Speaker 2: same thing as like finding your fan base. That's like,

799
00:36:59,719 --> 00:37:01,600
Speaker 2: you know, your music can find a home, but not

800
00:37:01,640 --> 00:37:05,080
Speaker 2: necessarily one where you know you're you're connected to it.

801
00:37:05,520 --> 00:37:08,799
Speaker 4: That's the difference between listeners and fans, right, And so

802
00:37:09,000 --> 00:37:11,920
Speaker 4: like people now and all the marketing you're talking about

803
00:37:12,080 --> 00:37:15,279
Speaker 4: is like how do we connect listeners to fans? How

804
00:37:15,280 --> 00:37:17,400
Speaker 4: do we turned listeners into fans?

805
00:37:17,840 --> 00:37:19,200
Speaker 3: Right? That's really interesting.

806
00:37:20,040 --> 00:37:22,000
Speaker 1: Actually you're making me rethink my I feel like I

807
00:37:22,040 --> 00:37:22,480
Speaker 1: came into the.

808
00:37:22,440 --> 00:37:25,080
Speaker 2: Conversation with a very dour attitude about music, thinking like

809
00:37:25,120 --> 00:37:26,960
Speaker 2: and in fact, Laura and I were talking about this

810
00:37:27,040 --> 00:37:30,200
Speaker 2: last night about this the way that people used to

811
00:37:30,280 --> 00:37:35,200
Speaker 2: kind of like define their personality because they had to

812
00:37:35,280 --> 00:37:37,359
Speaker 2: be your thing about like if you wanted to find

813
00:37:37,440 --> 00:37:39,960
Speaker 2: Eric's music, you had to you know, have a record

814
00:37:39,960 --> 00:37:41,759
Speaker 2: store in your town or read like the city paper

815
00:37:41,880 --> 00:37:46,040
Speaker 2: or whatever it is. But also like it was your network, right,

816
00:37:46,160 --> 00:37:49,840
Speaker 2: your network was your network, you know, like but you

817
00:37:49,880 --> 00:37:52,360
Speaker 2: know the people you knew if they were into it

818
00:37:52,400 --> 00:37:54,000
Speaker 2: would like lead you into it, and then you could

819
00:37:54,080 --> 00:37:55,880
Speaker 2: go further into this thing and you'd feel like it

820
00:37:55,920 --> 00:37:59,160
Speaker 2: was yours. Like like I don't think Swifties, it's not

821
00:37:59,280 --> 00:38:01,600
Speaker 2: quite the same thing as Swifties because it's because it's

822
00:38:01,600 --> 00:38:06,880
Speaker 2: a very productized version of that thing. You know, they

823
00:38:06,880 --> 00:38:08,719
Speaker 2: didn't know what to do with One Hit Wonders at

824
00:38:08,719 --> 00:38:09,880
Speaker 2: some point, like they didn't know what to do with

825
00:38:09,880 --> 00:38:12,000
Speaker 2: people who had to hit. But then like you know,

826
00:38:12,160 --> 00:38:14,719
Speaker 2: maybe they knew somebody like something about them, but they

827
00:38:14,760 --> 00:38:16,839
Speaker 2: couldn't fgure out how to like extract anything more from them.

828
00:38:16,880 --> 00:38:18,879
Speaker 2: And then I think in the nineties we figured out

829
00:38:18,880 --> 00:38:21,480
Speaker 2: how to like turn like One Hit Wonder Disney teens

830
00:38:21,520 --> 00:38:26,040
Speaker 2: into like lifetime sort of like artists like Britney Spears.

831
00:38:26,600 --> 00:38:27,799
Speaker 2: And I think a lot of it has to do

832
00:38:27,880 --> 00:38:31,800
Speaker 2: with like figuring out how to productize, how to productize fandom,

833
00:38:31,800 --> 00:38:34,040
Speaker 2: how to productize like this feeling that you are part

834
00:38:34,080 --> 00:38:36,920
Speaker 2: of this club that is special to you. But that's

835
00:38:36,960 --> 00:38:38,480
Speaker 2: not the same thing as finding it on your own,

836
00:38:38,960 --> 00:38:42,160
Speaker 2: you know, that's anyhow, But to your point, there are

837
00:38:42,200 --> 00:38:44,160
Speaker 2: things you can find on your own, perhaps more than ever,

838
00:38:44,200 --> 00:38:44,920
Speaker 2: and maybe.

839
00:38:45,239 --> 00:38:50,840
Speaker 4: That's I think the like fundamental essential part of music,

840
00:38:50,960 --> 00:38:55,839
Speaker 4: which is like that it is accessible, it delivers emotional

841
00:38:56,040 --> 00:39:00,600
Speaker 4: depth really easily and really quickly, and visceral impact like

842
00:39:00,640 --> 00:39:03,520
Speaker 4: it physically moves you. And the fact that like you

843
00:39:03,560 --> 00:39:07,279
Speaker 4: can acquire it passively, so like there's an ambientness to

844
00:39:07,400 --> 00:39:11,920
Speaker 4: music that doesn't exist with like movies or TV doesn't

845
00:39:11,920 --> 00:39:13,680
Speaker 4: work that way anymore. You're not just like flipping and

846
00:39:13,760 --> 00:39:15,280
Speaker 4: you stumble upon something.

847
00:39:15,400 --> 00:39:17,319
Speaker 2: Right, No, that's right. TikTok is the closest thing we

848
00:39:17,360 --> 00:39:20,640
Speaker 2: have to flip in at this point. Actually, sure, they're right,

849
00:39:20,680 --> 00:39:22,680
Speaker 2: that's true. Yeah, but music has always had it.

850
00:39:22,840 --> 00:39:25,399
Speaker 4: You could passively acquire it, so like you could hear

851
00:39:25,480 --> 00:39:27,880
Speaker 4: the song ten times without trying, and then you'd be like, oh,

852
00:39:27,920 --> 00:39:30,440
Speaker 4: I like that song, right, you know. It's one of

853
00:39:30,480 --> 00:39:35,000
Speaker 4: the reasons that music infiltrates us so deeply and people

854
00:39:35,000 --> 00:39:38,360
Speaker 4: connect with it so deeply. None of that's changed.

855
00:39:38,560 --> 00:39:41,440
Speaker 2: That's interesting. You're giving me a it's a weirdly positive

856
00:39:42,000 --> 00:39:42,879
Speaker 2: view on the whole thing.

857
00:39:43,080 --> 00:39:47,160
Speaker 4: That's me for me, Like aging gracefully is like always

858
00:39:47,600 --> 00:39:51,240
Speaker 4: trying to find a way to sort of be open

859
00:39:51,440 --> 00:39:55,880
Speaker 4: to how music and the world has changed and the

860
00:39:56,120 --> 00:39:59,120
Speaker 4: experiences that people are having with music are mean just

861
00:39:59,160 --> 00:40:00,640
Speaker 4: as much to them as they did to me.

862
00:40:01,000 --> 00:40:01,200
Speaker 3: Hmm.

863
00:40:01,480 --> 00:40:04,319
Speaker 4: I think it's really important to remain focused on that.

864
00:40:04,680 --> 00:40:06,680
Speaker 2: But I want to talk about the record because we've

865
00:40:06,719 --> 00:40:08,560
Speaker 2: sort of circled around the fact that you guys put

866
00:40:08,560 --> 00:40:11,719
Speaker 2: out So I was getting to as we got into

867
00:40:11,760 --> 00:40:14,160
Speaker 2: this whole conversation about like the nature of music and

868
00:40:14,200 --> 00:40:16,960
Speaker 2: how it affects people and how people come to it,

869
00:40:16,960 --> 00:40:18,560
Speaker 2: it was the fact that you kind of went away

870
00:40:18,560 --> 00:40:20,959
Speaker 2: from it and then came back to it, and you know, listen,

871
00:40:21,040 --> 00:40:25,080
Speaker 2: I have Look, I'm biased because you know, I know

872
00:40:25,160 --> 00:40:27,799
Speaker 2: you guys obviously, Eric, Eric is my brother, and Jesse.

873
00:40:27,960 --> 00:40:29,359
Speaker 2: I know you very well, and I know a lot

874
00:40:29,400 --> 00:40:32,200
Speaker 2: about you as people, as humans outside of the music.

875
00:40:33,000 --> 00:40:34,920
Speaker 2: And I don't want to have a conversation where people

876
00:40:34,920 --> 00:40:37,120
Speaker 2: to have conversations about music. They're like, what's I actually

877
00:40:37,120 --> 00:40:38,719
Speaker 2: I was joking about at the beginning, like tell me

878
00:40:38,719 --> 00:40:40,200
Speaker 2: about this new album, what's it all about?

879
00:40:40,200 --> 00:40:40,960
Speaker 3: And I don't want to do that.

880
00:40:41,000 --> 00:40:44,000
Speaker 1: I don't think we need to, but I am curious

881
00:40:44,080 --> 00:40:47,279
Speaker 1: to know, like why it felt like there was a

882
00:40:47,360 --> 00:40:50,000
Speaker 1: moment here, or why I felt like these songs needed

883
00:40:50,040 --> 00:40:53,960
Speaker 1: to exist. Was there something that spurred you to like

884
00:40:54,160 --> 00:40:57,320
Speaker 1: make this thing real after all the time, or was

885
00:40:57,360 --> 00:40:58,799
Speaker 1: it just like you had the time to do it.

886
00:40:59,239 --> 00:41:03,640
Speaker 3: Yeah. I think after the pandemic started and when I

887
00:41:03,680 --> 00:41:06,960
Speaker 3: came back to New York after being away from New

888
00:41:07,040 --> 00:41:09,040
Speaker 3: York for a while and I had not been working

889
00:41:09,040 --> 00:41:11,239
Speaker 3: on music, I opened up the computer just to see

890
00:41:11,280 --> 00:41:15,200
Speaker 3: what I had last been doing. And I can't say

891
00:41:15,200 --> 00:41:17,239
Speaker 3: what happened in that moment. I heard it and I

892
00:41:17,360 --> 00:41:21,920
Speaker 3: was like, this was actually good. Was what was I

893
00:41:22,000 --> 00:41:25,359
Speaker 3: doing with this? And that happened more and more as

894
00:41:25,400 --> 00:41:28,759
Speaker 3: the pandemic was happening. We were inside our apartment, you know,

895
00:41:29,320 --> 00:41:32,560
Speaker 3: and I kept going back to music, sort of like

896
00:41:32,920 --> 00:41:35,360
Speaker 3: how I've always done when I'm in a time of crisis,

897
00:41:35,400 --> 00:41:38,439
Speaker 3: which is like go to the guitar, go to the room.

898
00:41:38,600 --> 00:41:40,360
Speaker 3: You know. When I was a teenager, I would go

899
00:41:40,400 --> 00:41:42,239
Speaker 3: up to my room and blast a record when I

900
00:41:42,280 --> 00:41:45,680
Speaker 3: was mad or angry or sad or whatever. And I

901
00:41:45,719 --> 00:41:47,920
Speaker 3: think that that happened in the pandemic, and I had

902
00:41:47,960 --> 00:41:50,799
Speaker 3: the opportunity to return to it in like more of

903
00:41:50,840 --> 00:41:53,600
Speaker 3: a way than most people probably do, Like, oh, I

904
00:41:53,680 --> 00:41:55,920
Speaker 3: actually had a band, and I have things under my

905
00:41:55,960 --> 00:41:59,160
Speaker 3: belt that I can continue on with. Should should I

906
00:41:59,239 --> 00:42:03,120
Speaker 3: choose to do so, And then you know, as I

907
00:42:03,160 --> 00:42:07,680
Speaker 3: started making more and more songs, I was like, well,

908
00:42:07,719 --> 00:42:09,480
Speaker 3: I got to talk to Jesse about it and see what,

909
00:42:09,719 --> 00:42:13,000
Speaker 3: you know, what's what's next, what to do with it,

910
00:42:13,160 --> 00:42:17,359
Speaker 3: you know, and deciding to call it tan Lines at

911
00:42:17,360 --> 00:42:19,960
Speaker 3: a time where it didn't necessarily feel like it was

912
00:42:20,000 --> 00:42:24,400
Speaker 3: developed in a way that Tan Lines typically developed an album. Uh,

913
00:42:24,640 --> 00:42:26,160
Speaker 3: you know, I wasn't sure if I should even call

914
00:42:26,200 --> 00:42:26,440
Speaker 3: it that.

915
00:42:26,680 --> 00:42:30,240
Speaker 2: So, I mean that's interesting though, like in this period

916
00:42:30,280 --> 00:42:32,239
Speaker 2: where people were really and I'm not trying to say

917
00:42:32,280 --> 00:42:33,960
Speaker 2: this is like a pandemic record. I know you've kind

918
00:42:33,960 --> 00:42:36,000
Speaker 2: of shy away from the concept of it. I think

919
00:42:36,080 --> 00:42:40,759
Speaker 2: everything after the pandemic is a pandemic something. So yeah, right, well, yes,

920
00:42:40,840 --> 00:42:42,880
Speaker 2: of course these I don't think these songs speak to

921
00:42:42,960 --> 00:42:47,080
Speaker 2: my experience in the pandemic. But what you're describing of this,

922
00:42:47,239 --> 00:42:49,040
Speaker 2: like you're doing this thing on your own and then

923
00:42:49,200 --> 00:42:53,279
Speaker 2: coming back to this partnership with Jesse, has a real

924
00:42:53,440 --> 00:42:56,200
Speaker 2: like reflection of a pandemic sort of state of mind

925
00:42:56,239 --> 00:42:59,000
Speaker 2: in the sense that everybody was, you know, separate. I'm

926
00:42:59,000 --> 00:43:01,600
Speaker 2: not trying to read into this, I swear, but everybody

927
00:43:01,640 --> 00:43:04,000
Speaker 2: was separated and doing their own thing, and now we're

928
00:43:04,040 --> 00:43:06,000
Speaker 2: like kind of pulling back together. And I feel like,

929
00:43:06,000 --> 00:43:09,120
Speaker 2: to some extent, the way the record developed, knowing that

930
00:43:09,160 --> 00:43:11,719
Speaker 2: you had worked on a lot of these songs on

931
00:43:11,760 --> 00:43:14,359
Speaker 2: your own and then you and Jesse sort of came

932
00:43:14,400 --> 00:43:17,440
Speaker 2: back together to put the record, to build the record,

933
00:43:18,160 --> 00:43:19,879
Speaker 2: I mean, I think it's I don't know, maybe it's

934
00:43:19,920 --> 00:43:22,200
Speaker 2: reflective of that era of our lives.

935
00:43:22,480 --> 00:43:25,279
Speaker 3: I think that it has evolved in such a way

936
00:43:25,320 --> 00:43:28,759
Speaker 3: that like there's a there's a full returning to work

937
00:43:28,840 --> 00:43:30,080
Speaker 3: story built into this.

938
00:43:30,760 --> 00:43:31,240
Speaker 4: Definitely.

939
00:43:32,000 --> 00:43:33,759
Speaker 1: Your first video was a Zoom presentation.

940
00:43:33,840 --> 00:43:37,879
Speaker 4: Yeah, basically yeah for the rec met Yeah, well it

941
00:43:37,920 --> 00:43:40,360
Speaker 4: was it was like I was joking, like, you know,

942
00:43:40,440 --> 00:43:42,959
Speaker 4: we're in our remote work era now, so like.

943
00:43:43,040 --> 00:43:45,759
Speaker 1: That was the right and that's essentially, yeah, this is

944
00:43:45,840 --> 00:43:47,400
Speaker 1: return this is your return to office.

945
00:43:47,440 --> 00:43:48,360
Speaker 3: Though really.

946
00:43:50,120 --> 00:43:53,200
Speaker 4: I think that you know, Eric and I as experiences

947
00:43:53,239 --> 00:43:57,480
Speaker 4: are pretty different in that like I went and found

948
00:43:57,520 --> 00:44:01,480
Speaker 4: other jobs and like before doing music, I was had

949
00:44:01,520 --> 00:44:04,279
Speaker 4: I was an archivist for ten years and like once

950
00:44:04,280 --> 00:44:06,520
Speaker 4: we took a break, I like went out and took

951
00:44:06,520 --> 00:44:09,360
Speaker 4: a job at YouTube and ed Nike and I have

952
00:44:09,480 --> 00:44:13,799
Speaker 4: had this like brand career also, right, I think, you know,

953
00:44:14,280 --> 00:44:17,520
Speaker 4: that difference between us has always been part of the

954
00:44:18,640 --> 00:44:23,279
Speaker 4: creative magic between us. I would say, yeah, and you know,

955
00:44:23,600 --> 00:44:27,920
Speaker 4: Eric is a songwriter and has been writing songs. I

956
00:44:28,000 --> 00:44:32,480
Speaker 4: also think that like, yeah, COVID twenty twenty shutdown, that's

957
00:44:32,560 --> 00:44:35,239
Speaker 4: certainly was a factor. But also like, I feel like

958
00:44:35,280 --> 00:44:36,840
Speaker 4: I'm at a place now with like my kids are

959
00:44:36,840 --> 00:44:39,239
Speaker 4: a bit older where I'm looking ahead and I'm just

960
00:44:39,320 --> 00:44:42,560
Speaker 4: kind of being like, all right, you know who am I?

961
00:44:43,120 --> 00:44:46,040
Speaker 4: You know, I'm midlife right, midlife crisis shit right. So

962
00:44:46,040 --> 00:44:48,600
Speaker 4: it's like I'm like, do I do I really want

963
00:44:48,640 --> 00:44:50,600
Speaker 4: to say goodbye to the part of myself that like

964
00:44:50,680 --> 00:44:52,759
Speaker 4: did music for ten years or can I find a

965
00:44:52,800 --> 00:44:57,560
Speaker 4: way to incorporate that part of myself into my life now?

966
00:44:58,080 --> 00:45:00,520
Speaker 4: So when Eric came to me and being like I

967
00:45:00,560 --> 00:45:02,360
Speaker 4: wrote all these songs, I want to do it and

968
00:45:02,360 --> 00:45:04,239
Speaker 4: I think it could be a talance record, but you

969
00:45:04,239 --> 00:45:06,120
Speaker 4: would have to be involved, I was like, all right,

970
00:45:06,160 --> 00:45:07,879
Speaker 4: let's talk about what that means and let me see

971
00:45:07,920 --> 00:45:09,960
Speaker 4: how how I can get involved in a way that

972
00:45:10,040 --> 00:45:12,520
Speaker 4: makes sense. And I'm now at this place where I'm like,

973
00:45:12,600 --> 00:45:16,200
Speaker 4: I think Tannlines is this like evolving project. I keep

974
00:45:16,320 --> 00:45:20,360
Speaker 4: kind of describing it as like those documentaries, those films

975
00:45:20,400 --> 00:45:23,759
Speaker 4: like seven up, fourteen up, Yeah, which I've seen none

976
00:45:23,800 --> 00:45:24,120
Speaker 4: of them.

977
00:45:24,840 --> 00:45:26,040
Speaker 1: You understand the conception.

978
00:45:26,800 --> 00:45:29,680
Speaker 4: I understand them conceptually, where it's just like, oh, yeah,

979
00:45:29,719 --> 00:45:32,040
Speaker 4: like we did a kids record when we were on

980
00:45:32,120 --> 00:45:34,600
Speaker 4: quote unquote paternity leave, and now it's like we're in

981
00:45:34,640 --> 00:45:37,719
Speaker 4: this remote era where like Eric's in the country and

982
00:45:37,960 --> 00:45:40,000
Speaker 4: he's writing songs and I'm coming up there to help

983
00:45:40,040 --> 00:45:42,160
Speaker 4: him finish them. I'm like, I would love it if

984
00:45:42,160 --> 00:45:45,680
Speaker 4: we just found a way to keep doing this in

985
00:45:45,800 --> 00:45:48,120
Speaker 4: the forms that our lives have taken on.

986
00:45:59,600 --> 00:46:01,200
Speaker 3: The idea that you could go away from it and

987
00:46:01,280 --> 00:46:03,920
Speaker 3: come back to it is interesting to me. It's not easy.

988
00:46:04,040 --> 00:46:05,799
Speaker 3: I mean, it's it's you don't just come back to

989
00:46:05,800 --> 00:46:09,040
Speaker 3: where you left off, you know, right, and so so

990
00:46:09,080 --> 00:46:11,440
Speaker 3: one of the things that's been really interesting about this

991
00:46:12,239 --> 00:46:14,920
Speaker 3: is coming back after being away for so long and

992
00:46:15,239 --> 00:46:19,760
Speaker 3: not you know, not seeing how much the business has changed,

993
00:46:19,800 --> 00:46:23,799
Speaker 3: which is like a thing people say or whatever, but

994
00:46:24,840 --> 00:46:28,160
Speaker 3: you know how hard it is to reconnect with people

995
00:46:28,239 --> 00:46:31,640
Speaker 3: you once were easy to reach, Right, you know their

996
00:46:31,640 --> 00:46:34,719
Speaker 3: lives have changed too, Right, They've had families, and they've

997
00:46:35,280 --> 00:46:38,400
Speaker 3: they don't go to shows anymore, and so so re

998
00:46:38,680 --> 00:46:44,080
Speaker 3: just rediscovering that or discovering that it's been really interesting and.

999
00:46:44,080 --> 00:46:48,360
Speaker 2: Also presented challenges too, just to piggyback on the stuff

1000
00:46:48,360 --> 00:46:50,160
Speaker 2: that you guys are saying right now, like there is

1001
00:46:50,200 --> 00:46:52,319
Speaker 2: a and I feel like, Eric, well you played me

1002
00:46:52,440 --> 00:46:55,840
Speaker 2: demos of some of this music, and I feel like

1003
00:46:55,880 --> 00:46:58,000
Speaker 2: I don't know if I ever you ever really answered

1004
00:46:58,000 --> 00:47:00,160
Speaker 2: my question, but like I felt like there was a

1005
00:47:00,200 --> 00:47:02,400
Speaker 2: component and maybe this brings us full circle in some

1006
00:47:02,480 --> 00:47:05,239
Speaker 2: way of some of these songs where like I feel

1007
00:47:05,320 --> 00:47:12,920
Speaker 2: like you're winking at things, You're you're not joking, not joking,

1008
00:47:12,960 --> 00:47:15,479
Speaker 2: but having fun with things with like foreign like song

1009
00:47:15,600 --> 00:47:20,760
Speaker 2: forms in a way that feels like liberated from not

1010
00:47:20,760 --> 00:47:24,120
Speaker 2: not that earlier tan Line stuff felt like bottled up.

1011
00:47:24,719 --> 00:47:27,000
Speaker 2: But to me, there's songs on the record where I'm

1012
00:47:27,040 --> 00:47:30,920
Speaker 2: like Eric's like there's like like Burns effect.

1013
00:47:31,000 --> 00:47:32,520
Speaker 1: You should hear a song, you should hear some of

1014
00:47:32,560 --> 00:47:33,799
Speaker 1: the ones that didn't make the help with.

1015
00:47:34,440 --> 00:47:36,480
Speaker 2: Right, but like that is a song like I take

1016
00:47:36,520 --> 00:47:38,080
Speaker 2: it very I take it seriously as a song, but

1017
00:47:38,080 --> 00:47:39,759
Speaker 2: there's also an element of it and this is maybe

1018
00:47:39,760 --> 00:47:42,239
Speaker 2: this is maybe this is flood dystantery, but this is

1019
00:47:42,239 --> 00:47:46,160
Speaker 2: the undercurrent of of no pun intended to flood Distaria

1020
00:47:46,239 --> 00:47:48,160
Speaker 2: or whatever we did in our basement, where it's like

1021
00:47:48,400 --> 00:47:55,120
Speaker 2: taking something very seriously that has an element of I

1022
00:47:55,160 --> 00:47:56,000
Speaker 2: think play.

1023
00:47:56,120 --> 00:47:58,279
Speaker 4: I think it is. Yes, I think it's a way

1024
00:47:58,320 --> 00:48:00,440
Speaker 4: to describe what you're getting at I think there. I

1025
00:48:00,480 --> 00:48:02,640
Speaker 4: think on that song in particular, and in some other

1026
00:48:02,680 --> 00:48:05,440
Speaker 4: parts of this album, Eric, and I'm sorry to speak

1027
00:48:05,520 --> 00:48:09,320
Speaker 4: for you, but like it is like playing a little

1028
00:48:09,320 --> 00:48:13,000
Speaker 4: bit more than we had in the past, than talents

1029
00:48:13,000 --> 00:48:15,040
Speaker 4: had in the past. And I think that's an interesting

1030
00:48:17,400 --> 00:48:20,520
Speaker 4: and I think a little like inspiring shift to see

1031
00:48:20,560 --> 00:48:23,000
Speaker 4: like at a we think of like play as being

1032
00:48:23,000 --> 00:48:27,000
Speaker 4: a childhood, childhood thing, right and you know you stop playing,

1033
00:48:27,600 --> 00:48:29,760
Speaker 4: you know. But I also think that there's a version

1034
00:48:29,800 --> 00:48:34,359
Speaker 4: of aging growing, getting a certain kind of confidence and

1035
00:48:34,600 --> 00:48:37,640
Speaker 4: security to be able to play around in that I

1036
00:48:37,680 --> 00:48:39,400
Speaker 4: saw on this album that I hadn't really seen from

1037
00:48:39,520 --> 00:48:40,280
Speaker 4: Eric in the past.

1038
00:48:40,800 --> 00:48:42,800
Speaker 2: I would agree, Yeah, I don't want to and I

1039
00:48:42,800 --> 00:48:44,719
Speaker 2: don't want to get too personal, but I will say this, like,

1040
00:48:45,160 --> 00:48:47,560
Speaker 2: you know, I'm in therapy, like any good you know,

1041
00:48:47,719 --> 00:48:50,040
Speaker 2: a person of my age is and should be.

1042
00:48:51,480 --> 00:48:52,479
Speaker 1: But I talked to I've been.

1043
00:48:52,400 --> 00:48:55,279
Speaker 2: Talking a lot about about play this play thing, and Eric,

1044
00:48:55,280 --> 00:48:56,719
Speaker 2: I don't want to, you know, talk too much about

1045
00:48:56,719 --> 00:48:58,400
Speaker 2: although I did talk about our childhood on one of

1046
00:48:58,440 --> 00:49:00,239
Speaker 2: these episodes like a while ago, where I went through

1047
00:49:00,280 --> 00:49:02,319
Speaker 2: my entire history of how I ended up doing what

1048
00:49:02,360 --> 00:49:06,000
Speaker 2: I'm doing. And I think that like we actually didn't

1049
00:49:06,160 --> 00:49:08,319
Speaker 2: have in many ways, like when we were kids, we

1050
00:49:08,320 --> 00:49:11,800
Speaker 2: did not have like as much opportunity to play as

1051
00:49:11,840 --> 00:49:13,600
Speaker 2: like we probably should have, because there was a lot

1052
00:49:13,640 --> 00:49:15,719
Speaker 2: of really weird shit going on, like a lot of

1053
00:49:15,719 --> 00:49:19,040
Speaker 2: really hard stuff like not going to school and and

1054
00:49:19,120 --> 00:49:22,000
Speaker 2: dealing with that like as as a thing in our lives.

1055
00:49:22,520 --> 00:49:25,200
Speaker 3: I thought you just stayed home and played. No no, no.

1056
00:49:25,000 --> 00:49:26,959
Speaker 2: No, But I think, but I think at a time

1057
00:49:27,000 --> 00:49:29,000
Speaker 2: when there is like natural play, there was a lot

1058
00:49:29,040 --> 00:49:30,919
Speaker 2: of stuff going on that is like actually very really

1059
00:49:30,920 --> 00:49:33,400
Speaker 2: stressful and really like kind of like a lot of

1060
00:49:33,440 --> 00:49:36,399
Speaker 2: mental overhead that I don't I haven't thought that much

1061
00:49:36,440 --> 00:49:39,080
Speaker 2: about ever. And then you know, now I'm like, well,

1062
00:49:39,080 --> 00:49:40,680
Speaker 2: why do I do certain things that I do or

1063
00:49:40,680 --> 00:49:42,160
Speaker 2: why do I feel certain ways that I feel? And

1064
00:49:42,200 --> 00:49:44,279
Speaker 2: it's like, oh, maybe there's like a chunk of me

1065
00:49:44,360 --> 00:49:46,840
Speaker 2: that needed to get that out somewhere else. And I

1066
00:49:46,840 --> 00:49:49,640
Speaker 2: think music is one of those places I think, like

1067
00:49:49,680 --> 00:49:51,839
Speaker 2: the stuff I make is for me personally. I mean,

1068
00:49:51,880 --> 00:49:54,600
Speaker 2: it is one of those places where it's like there's

1069
00:49:54,680 --> 00:49:59,799
Speaker 2: some element of like create creativeness that feels like unbridled,

1070
00:49:59,880 --> 00:50:03,520
Speaker 2: like untethered, and I think, like, yeah, I think like

1071
00:50:03,600 --> 00:50:05,920
Speaker 2: this record it's interesting to me because I hear that

1072
00:50:05,960 --> 00:50:10,120
Speaker 2: in the music. And again I might be projecting or

1073
00:50:10,160 --> 00:50:12,520
Speaker 2: reading too much into it about our like you know, history,

1074
00:50:12,600 --> 00:50:19,160
Speaker 2: but I will say this idea of play and of

1075
00:50:19,239 --> 00:50:21,759
Speaker 2: like doing something loose and like not taking it too

1076
00:50:21,800 --> 00:50:25,719
Speaker 2: seriously and that leading to like really interesting art is

1077
00:50:26,200 --> 00:50:28,960
Speaker 2: just generally interesting to me, but also like an exciting

1078
00:50:29,040 --> 00:50:30,759
Speaker 2: but like I think it's like you guys have found

1079
00:50:30,800 --> 00:50:33,319
Speaker 2: something on this record that and again I say this

1080
00:50:33,400 --> 00:50:37,480
Speaker 2: with a totally biased opinion, it's quite exciting, and uh,

1081
00:50:37,880 --> 00:50:39,480
Speaker 2: thank you anyhow, Yeah.

1082
00:50:39,320 --> 00:50:39,719
Speaker 4: Thank you.

1083
00:50:39,920 --> 00:50:41,960
Speaker 1: That's just I don't want to end on just like compliment, but.

1084
00:50:43,040 --> 00:50:43,640
Speaker 4: I'd love to.

1085
00:50:46,560 --> 00:50:49,320
Speaker 3: I think what it returns to, very briefly, though, is

1086
00:50:49,320 --> 00:50:53,960
Speaker 3: is your idea of what's fun and what isn't right playing?

1087
00:50:54,280 --> 00:50:58,400
Speaker 3: Why do we play? This is fun? Right? So you

1088
00:50:58,440 --> 00:51:01,040
Speaker 3: should play and you should have fun all the way

1089
00:51:01,120 --> 00:51:06,440
Speaker 3: till you can't anymore, right, right, and find ways always too,

1090
00:51:06,840 --> 00:51:08,600
Speaker 3: and if you're lucky enough, maybe you can make it

1091
00:51:08,640 --> 00:51:09,040
Speaker 3: your job.

1092
00:51:09,200 --> 00:51:13,160
Speaker 4: But then that's when it stops traditionally being correct. Yeah,

1093
00:51:13,200 --> 00:51:15,120
Speaker 4: that's the that's the challenge.

1094
00:51:15,239 --> 00:51:17,719
Speaker 2: And maybe having that period of where your job was

1095
00:51:17,719 --> 00:51:20,440
Speaker 2: something totally different allows you to go back to it

1096
00:51:20,480 --> 00:51:22,440
Speaker 2: as play. I mean, that's the thing that's interesting to me,

1097
00:51:22,680 --> 00:51:24,040
Speaker 2: and that is what I hear on the record. In

1098
00:51:24,080 --> 00:51:26,080
Speaker 2: a lot of places, I'm.

1099
00:51:25,920 --> 00:51:32,279
Speaker 4: Really inspired by, like the later albums of some like

1100
00:51:32,440 --> 00:51:35,239
Speaker 4: legacy artists when they were like in middle age. I

1101
00:51:35,280 --> 00:51:37,760
Speaker 4: know it's something Eric has talked talks a lot about,

1102
00:51:37,880 --> 00:51:40,680
Speaker 4: but like that sort of freedom that happens when it's

1103
00:51:40,719 --> 00:51:44,320
Speaker 4: like the Rolling Stones working on like Black and Blue

1104
00:51:44,520 --> 00:51:47,480
Speaker 4: or whatever it was. They're like, yeah, they're forte I

1105
00:51:47,520 --> 00:51:50,759
Speaker 4: know that, Like those aren't considered like stealing steel wheels,

1106
00:51:50,840 --> 00:51:53,959
Speaker 4: like steel wheels, Yeah, yes, yeah, And I'm actually not.

1107
00:51:53,960 --> 00:51:55,720
Speaker 2: That's there are a lot of people who are steel

1108
00:51:55,800 --> 00:51:58,319
Speaker 2: In fact, Laura and I talk about her dad is

1109
00:51:58,360 --> 00:52:02,480
Speaker 2: a steel Wheels era Rolling Stones fan, like that's when

1110
00:52:02,560 --> 00:52:05,520
Speaker 2: he came to the Royd Stones, and there's a lot

1111
00:52:05,560 --> 00:52:08,040
Speaker 2: of people like this fun is some good shit in there.

1112
00:52:09,239 --> 00:52:13,480
Speaker 4: I just think it's like an interesting perspective, like looking

1113
00:52:13,520 --> 00:52:16,440
Speaker 4: back having done a whole career and then like still

1114
00:52:16,440 --> 00:52:19,800
Speaker 4: doing it and looking back, it's a pretty like privileged

1115
00:52:19,840 --> 00:52:22,600
Speaker 4: position because a lot most people don't get those chances

1116
00:52:22,760 --> 00:52:26,319
Speaker 4: right right. So I think that like there like are

1117
00:52:26,560 --> 00:52:31,840
Speaker 4: little indie, you know, small version of that is like

1118
00:52:31,880 --> 00:52:34,759
Speaker 4: an interesting thread in this album and something i'd love

1119
00:52:34,840 --> 00:52:36,520
Speaker 4: to like keep keep pulling at.

1120
00:52:37,200 --> 00:52:38,680
Speaker 3: Well. I hope that you too listen.

1121
00:52:38,760 --> 00:52:40,840
Speaker 2: I know that we gotta we get a wrap of

1122
00:52:41,200 --> 00:52:44,680
Speaker 2: That's a very NPR like closing for me.

1123
00:52:46,000 --> 00:52:47,960
Speaker 1: I do want to say one thing though, before we go.

1124
00:52:48,040 --> 00:52:48,960
Speaker 3: I want to say one thing.

1125
00:52:49,040 --> 00:52:51,960
Speaker 2: I turn the air conditioning on in here, and I

1126
00:52:52,000 --> 00:52:54,080
Speaker 2: turned my camera back on, and I do believe that

1127
00:52:54,160 --> 00:52:56,879
Speaker 2: the air blowing on it has cooled it down enough

1128
00:52:56,880 --> 00:52:58,920
Speaker 2: to allow me to continue doing a video here. So

1129
00:52:59,560 --> 00:53:01,640
Speaker 2: turns out out that just put a fan on it,

1130
00:53:01,960 --> 00:53:03,520
Speaker 2: no matter what it is, if it over, he's just

1131
00:53:03,520 --> 00:53:05,440
Speaker 2: get a fan on it, you'll be fine. I think

1132
00:53:05,480 --> 00:53:09,440
Speaker 2: that's my big takeaway from this conversation. Give it a

1133
00:53:09,480 --> 00:53:11,239
Speaker 2: chance to cool down, Give it a little chance to

1134
00:53:11,320 --> 00:53:11,680
Speaker 2: cool down.

1135
00:53:11,760 --> 00:53:13,560
Speaker 3: Yeah, they brought out was it a I can't remember

1136
00:53:13,560 --> 00:53:15,479
Speaker 3: it was a box fan or an oscillating fan.

1137
00:53:15,840 --> 00:53:19,000
Speaker 4: No, it was like it was like a felt like

1138
00:53:19,200 --> 00:53:23,239
Speaker 4: construction equipment. Oh maybe it was one of those steel

1139
00:53:23,280 --> 00:53:26,560
Speaker 4: like floor fans or something. Propped it up on a morn.

1140
00:53:26,640 --> 00:53:29,320
Speaker 2: I'm trying to bring this to a more philosophical place, Kyles,

1141
00:53:29,400 --> 00:53:32,240
Speaker 2: Can you stop talking about the fan. I'm saying, like

1142
00:53:32,400 --> 00:53:34,720
Speaker 2: a lot of great things, like your computer that shut

1143
00:53:34,760 --> 00:53:36,920
Speaker 2: down from overheating, you give it a little time, give

1144
00:53:36,960 --> 00:53:38,759
Speaker 2: a little space, put a fan on it, let it

1145
00:53:38,800 --> 00:53:40,959
Speaker 2: cool down, and people say, you know what, people say,

1146
00:53:41,400 --> 00:53:46,400
Speaker 2: that was a great show. All right, let's wrap it up. Okay, great, listen.

1147
00:53:46,480 --> 00:53:49,319
Speaker 2: I know we could talk for many hours, and in

1148
00:53:49,360 --> 00:53:51,640
Speaker 2: fact we have and we will. I know this for

1149
00:53:51,680 --> 00:53:54,680
Speaker 2: a fact, because we'll never be able to escape each other.

1150
00:53:54,960 --> 00:53:57,440
Speaker 2: I mean there's definitely some stuff you know we didn't

1151
00:53:57,480 --> 00:54:01,800
Speaker 2: touch on. Wow, really, but no, I just think.

1152
00:54:01,680 --> 00:54:04,319
Speaker 3: That, like, I don't know how much you prepare for

1153
00:54:04,360 --> 00:54:07,840
Speaker 3: these conversations, almost not at all. I think you should

1154
00:54:08,000 --> 00:54:12,359
Speaker 3: spike your interviews with like like one or two Nard

1155
00:54:12,400 --> 00:54:15,040
Speaker 3: War type zingers that just are far out of left

1156
00:54:15,040 --> 00:54:16,000
Speaker 3: field because.

1157
00:54:15,760 --> 00:54:17,680
Speaker 2: You because you're my fucking brother. I mean, there's all

1158
00:54:17,760 --> 00:54:19,840
Speaker 2: kinds of ship I could us. I think the flood

1159
00:54:19,840 --> 00:54:21,440
Speaker 2: of dysentery was pretty nardy one.

1160
00:54:21,440 --> 00:54:22,040
Speaker 1: That's pretty good.

1161
00:54:22,120 --> 00:54:23,440
Speaker 3: That's pretty good. That's pretty good.

1162
00:54:23,440 --> 00:54:24,799
Speaker 1: I think we got I think we got into some

1163
00:54:24,800 --> 00:54:26,040
Speaker 1: pretty deep cuts on this one.

1164
00:54:26,120 --> 00:54:26,520
Speaker 3: Actually.

1165
00:54:26,560 --> 00:54:28,680
Speaker 2: Like the fact that scott Iella was mentioned at all,

1166
00:54:28,719 --> 00:54:29,680
Speaker 2: I think is a big I got.

1167
00:54:30,080 --> 00:54:32,560
Speaker 4: Is he related to the Iyello's pizza family.

1168
00:54:33,120 --> 00:54:33,719
Speaker 3: I don't think so.

1169
00:54:33,880 --> 00:54:35,320
Speaker 1: No, No, I don't think so. I think it's a

1170
00:54:35,360 --> 00:54:36,560
Speaker 1: common Italian last name.

1171
00:54:36,640 --> 00:54:39,920
Speaker 4: I think. And yeah, but in Pittsburgh there's the the

1172
00:54:39,920 --> 00:54:41,120
Speaker 4: Neighborhood pizza shop.

1173
00:54:41,560 --> 00:54:44,160
Speaker 2: No, scott Iella was famous for, but getting the getting

1174
00:54:44,200 --> 00:54:46,040
Speaker 2: going into Dary Creator where it was and ordering a

1175
00:54:46,120 --> 00:54:49,759
Speaker 2: cone and then smashed into his face immediately. I think

1176
00:54:49,760 --> 00:54:52,120
Speaker 2: it was actually Dairy Queen. I think I couldn't remember

1177
00:54:52,120 --> 00:54:54,319
Speaker 2: if that was Scott or not, right, but I think

1178
00:54:55,120 --> 00:54:56,960
Speaker 2: Scott was always Scott was a guy who was like

1179
00:54:57,000 --> 00:54:59,160
Speaker 2: always like he put something down his pants or whatever.

1180
00:54:59,200 --> 00:55:00,920
Speaker 2: He'd be like, you know, put the like it pour

1181
00:55:01,000 --> 00:55:03,080
Speaker 2: this entire punch bowl down my pants or something.

1182
00:55:03,120 --> 00:55:04,040
Speaker 1: It's very jackass.

1183
00:55:04,400 --> 00:55:06,600
Speaker 2: My recollection of that era of your Friends was there

1184
00:55:06,600 --> 00:55:09,239
Speaker 2: are like a lot of jackass style shenanigans going on,

1185
00:55:09,600 --> 00:55:11,919
Speaker 2: and that's really like the era that that turned into

1186
00:55:11,960 --> 00:55:12,680
Speaker 2: the Jackass era.

1187
00:55:12,719 --> 00:55:14,000
Speaker 3: That era was kind of like that.

1188
00:55:14,120 --> 00:55:16,680
Speaker 4: Yeah, they were like, how do I be terrible at

1189
00:55:16,680 --> 00:55:18,880
Speaker 4: skateboarding but still make content?

1190
00:55:21,080 --> 00:55:21,239
Speaker 3: Well?

1191
00:55:21,280 --> 00:55:21,920
Speaker 1: I think they.

1192
00:55:21,960 --> 00:55:24,080
Speaker 2: I think they paid the road for a lot of YouTubers,

1193
00:55:24,239 --> 00:55:26,920
Speaker 2: you know, and you know this, they set the stage

1194
00:55:26,920 --> 00:55:28,520
Speaker 2: for a lot of mister beasts.

1195
00:55:28,760 --> 00:55:32,520
Speaker 4: That's future president, mister Beast to you, President Beast.

1196
00:55:34,680 --> 00:55:36,480
Speaker 1: All right, well, hey listen, guys, this is great.

1197
00:55:36,680 --> 00:55:39,399
Speaker 3: We gotta do it again sometime. Thanks Josh, I love

1198
00:55:39,480 --> 00:55:48,960
Speaker 3: being here, Thanks for having us, Thank you.

1199
00:55:50,200 --> 00:55:53,680
Speaker 2: Well, that is our show for this week. I have

1200
00:55:53,719 --> 00:55:58,400
Speaker 2: to say, you know, a flood of dysentery. I haven't

1201
00:55:58,400 --> 00:56:02,840
Speaker 2: thought about it. For such a stupid name, so like

1202
00:56:03,000 --> 00:56:06,640
Speaker 2: teen boy, just such a teen boy name, trying to

1203
00:56:06,680 --> 00:56:11,520
Speaker 2: shock people with something stupid and gross, very garbage pale kids,

1204
00:56:12,120 --> 00:56:14,920
Speaker 2: real garbage pale kids situation going on with that naming.

1205
00:56:15,760 --> 00:56:18,960
Speaker 2: That conversation really took me back, boy. I mean, I'd

1206
00:56:18,960 --> 00:56:21,160
Speaker 2: love to get my hands on some recordings of flood

1207
00:56:21,200 --> 00:56:24,480
Speaker 2: of dysenteria. I mean, that has got to be some

1208
00:56:24,520 --> 00:56:28,000
Speaker 2: pretty heinous stuff. Anyhow, all right, we should wrap up.

1209
00:56:28,040 --> 00:56:31,080
Speaker 2: We've gone on far too long, or maybe not long enough.

1210
00:56:31,360 --> 00:56:33,799
Speaker 1: No, probably too long Anyhow, that is our show for

1211
00:56:33,840 --> 00:56:34,080
Speaker 1: this week.

1212
00:56:34,160 --> 00:56:37,319
Speaker 2: We'll be back next week with more what future, and

1213
00:56:37,360 --> 00:56:40,320
Speaker 2: as always, I wish you and your family the very best.