1 00:00:15,436 --> 00:00:22,756 Speaker 1: Pushkin. Today, we have part two of Rick Rubin's conversation 2 00:00:22,956 --> 00:00:26,356 Speaker 1: with proto punk icon Iggy Pop. If he didn't catch 3 00:00:26,396 --> 00:00:28,836 Speaker 1: part one last week, where Iggy talked about his early 4 00:00:28,916 --> 00:00:31,476 Speaker 1: days with the Stooges and the inspiration behind some of 5 00:00:31,476 --> 00:00:34,196 Speaker 1: their most seminal songs, be sure to go check that out. 6 00:00:34,716 --> 00:00:37,116 Speaker 1: On today's episode, you'll hear Iggy speak in depth about 7 00:00:37,156 --> 00:00:39,836 Speaker 1: the years he spent working and touring with David Bowie. 8 00:00:40,396 --> 00:00:44,196 Speaker 1: He also explains how James Brown inspired his legendary performance style, 9 00:00:44,596 --> 00:00:47,556 Speaker 1: and then recalls the ridiculous antics that led to him 10 00:00:47,556 --> 00:00:53,156 Speaker 1: bleeding on stage for the very first time. This is 11 00:00:53,236 --> 00:00:57,036 Speaker 1: broken record liner notes for the digital age. I'm justin Richmond. 12 00:00:57,836 --> 00:01:01,476 Speaker 1: Here's Rick Rubin with Iggy Pop. Why do you think 13 00:01:01,756 --> 00:01:06,916 Speaker 1: the Stooges got popular over time? You know, there are 14 00:01:06,956 --> 00:01:10,076 Speaker 1: probably a lot of good, other good reasons that have 15 00:01:10,196 --> 00:01:13,876 Speaker 1: to do with the work, But one thing might be this. 16 00:01:14,396 --> 00:01:18,836 Speaker 1: It occurs to me when something isn't pushed at you, 17 00:01:19,676 --> 00:01:24,236 Speaker 1: the lister is allowed to find it for themselves, and 18 00:01:24,996 --> 00:01:28,556 Speaker 1: something you've found for yourself and you like or your 19 00:01:28,596 --> 00:01:31,716 Speaker 1: friend told you about it, maybe that has a lot 20 00:01:31,796 --> 00:01:35,916 Speaker 1: more of a power, staining power than something that this 21 00:01:36,116 --> 00:01:40,116 Speaker 1: is a five star review, you know, or this is 22 00:01:40,156 --> 00:01:43,276 Speaker 1: what's happening now, or this is what you can hear 23 00:01:43,356 --> 00:01:45,476 Speaker 1: on the radio whether you like it or not. Is 24 00:01:45,516 --> 00:01:47,436 Speaker 1: it good enough? It better because you're not going to 25 00:01:47,556 --> 00:01:51,556 Speaker 1: hear anything else, all that sort of thing. It gets 26 00:01:51,596 --> 00:01:57,356 Speaker 1: a quick result, but maybe it also kind of spoils something, 27 00:01:57,476 --> 00:02:00,676 Speaker 1: So that might be one reason. And the other reason 28 00:02:00,676 --> 00:02:04,196 Speaker 1: I would just say is that the stuff has a 29 00:02:04,196 --> 00:02:08,756 Speaker 1: good groove. It's the groove, I would say, and not 30 00:02:09,196 --> 00:02:13,756 Speaker 1: too pushy. Probably those reasons, and maybe also that it's 31 00:02:13,796 --> 00:02:17,556 Speaker 1: a little bit um, it's a little bit more fringe, 32 00:02:18,236 --> 00:02:23,436 Speaker 1: and maybe for some reason in the new world there's 33 00:02:23,476 --> 00:02:27,316 Speaker 1: a larger space for fringe for what used to be fringe. 34 00:02:28,356 --> 00:02:32,756 Speaker 1: Everybody's the same size on the internet. But when when 35 00:02:33,636 --> 00:02:38,396 Speaker 1: I used to go to record stores, to especially the chains, 36 00:02:38,876 --> 00:02:43,116 Speaker 1: to buy something, some people would be a card you 37 00:02:43,236 --> 00:02:45,556 Speaker 1: walk in, there's a cardboard cut out of the artist 38 00:02:45,636 --> 00:02:48,956 Speaker 1: eight feet high, and some other artists you have to 39 00:02:48,956 --> 00:02:50,756 Speaker 1: go to the back of store and look through the 40 00:02:50,836 --> 00:02:54,196 Speaker 1: stacks to find their stuff. So there's there. We used 41 00:02:54,196 --> 00:02:59,196 Speaker 1: to be more obvious differences, I would say, and we 42 00:02:59,276 --> 00:03:02,956 Speaker 1: still have that. We still have some artists that do 43 00:03:03,116 --> 00:03:07,036 Speaker 1: a lot of numbers, you know, and others that don't. 44 00:03:07,156 --> 00:03:11,196 Speaker 1: But for some reason it seemed to be ahead of 45 00:03:11,196 --> 00:03:16,356 Speaker 1: its time. That's the old saw, I guess. But something 46 00:03:16,396 --> 00:03:19,716 Speaker 1: about them, I don't know exactly, could be maybe the 47 00:03:19,756 --> 00:03:23,596 Speaker 1: world just caught up, yeah something yeah, yeah, society kind 48 00:03:23,596 --> 00:03:29,036 Speaker 1: of came halfway. And so we know so many artists 49 00:03:29,436 --> 00:03:35,076 Speaker 1: have been inspired by your on stage performance. Artists I've 50 00:03:35,116 --> 00:03:38,636 Speaker 1: worked with, many artists have been inspired by you. Who 51 00:03:38,676 --> 00:03:41,716 Speaker 1: were the artists that inspired you to do what you 52 00:03:41,796 --> 00:03:47,676 Speaker 1: do in terms of the visual aspect of performance. James Brown, Yeah, 53 00:03:47,836 --> 00:03:52,436 Speaker 1: number one first and foremost, and then I'm trying to think. 54 00:03:53,756 --> 00:03:58,076 Speaker 1: I mean both Jim Morrison and Mick Jagger when I started, 55 00:03:58,836 --> 00:04:03,556 Speaker 1: those were two people that it would be wise to 56 00:04:03,636 --> 00:04:08,556 Speaker 1: study check out what they do, you know, although at 57 00:04:08,596 --> 00:04:15,796 Speaker 1: the time Mick Jagger didn't do anything really particularly strange 58 00:04:15,956 --> 00:04:19,196 Speaker 1: at first. There wasn't a pushy performance when I first 59 00:04:19,196 --> 00:04:24,236 Speaker 1: saw them. That was nineteen sixty five, I was they 60 00:04:24,276 --> 00:04:28,836 Speaker 1: played Cobal Hall. I was still in high school and 61 00:04:29,276 --> 00:04:31,836 Speaker 1: it was Brian Jones was still in the band, and 62 00:04:31,956 --> 00:04:36,156 Speaker 1: they just lined up in a row and played and 63 00:04:36,236 --> 00:04:42,396 Speaker 1: there was they all looked amazing. Frankly, and all looked 64 00:04:42,436 --> 00:04:45,516 Speaker 1: really good. At Mick Jagger had had a very large 65 00:04:45,516 --> 00:04:50,916 Speaker 1: head and the movement comes from the head really, But 66 00:04:50,996 --> 00:04:53,876 Speaker 1: that was that. It was just a great visual. Then 67 00:04:53,876 --> 00:04:57,356 Speaker 1: when I saw them again in sixty nine, then that 68 00:04:57,516 --> 00:05:00,596 Speaker 1: was the tour with the he wore the Leo sign, 69 00:05:01,476 --> 00:05:05,396 Speaker 1: the black outfit and the American cardboard hat and all that, 70 00:05:05,516 --> 00:05:09,076 Speaker 1: and that was full performance, which is I could see 71 00:05:09,156 --> 00:05:11,836 Speaker 1: a little bit of Tina Turner. I could see a 72 00:05:11,876 --> 00:05:15,556 Speaker 1: little bit of well quite a bit of Tina Turner, 73 00:05:15,596 --> 00:05:19,196 Speaker 1: and then some stuff of his own. Jim Morrison, that 74 00:05:19,396 --> 00:05:23,796 Speaker 1: was a whole other Ballgabe. This guy had benefited, i 75 00:05:23,836 --> 00:05:28,396 Speaker 1: think from he had a good quality college education in 76 00:05:28,796 --> 00:05:32,516 Speaker 1: the UCLA Film School, so he was he was a 77 00:05:32,556 --> 00:05:37,676 Speaker 1: film major there. And so he's singing, he's singing and 78 00:05:37,796 --> 00:05:40,876 Speaker 1: things about you know, with where the lyric is taken 79 00:05:40,996 --> 00:05:47,116 Speaker 1: from French novelists two hundred years ago. He was from 80 00:05:47,196 --> 00:05:50,156 Speaker 1: Saline at the end of the night and this sort 81 00:05:50,156 --> 00:05:53,596 Speaker 1: of thing, and he was doing he was doing some 82 00:05:53,676 --> 00:05:56,876 Speaker 1: movements that I'm sure he got straight off the side 83 00:05:56,876 --> 00:06:00,756 Speaker 1: of a Grecian urn, you know, like had tried to 84 00:06:01,436 --> 00:06:07,116 Speaker 1: trying to explore the the idea of theatrical badness, although 85 00:06:07,156 --> 00:06:10,676 Speaker 1: I antonied our toe with that kind of thing. So 86 00:06:11,636 --> 00:06:15,196 Speaker 1: that was interesting. But with both these guys at the time, 87 00:06:15,276 --> 00:06:18,276 Speaker 1: you're you're young, you're starting out. These were the two 88 00:06:18,356 --> 00:06:23,956 Speaker 1: poles of what was interesting in white rock and what 89 00:06:23,996 --> 00:06:28,196 Speaker 1: they both did well. They centered, well, that's the main 90 00:06:28,356 --> 00:06:32,236 Speaker 1: thing to her a vocalist. You know, I ran into 91 00:06:32,316 --> 00:06:36,116 Speaker 1: you at nine inch nails show in the Forum and 92 00:06:36,236 --> 00:06:38,316 Speaker 1: we were sitting at the mess mixing desk and I've 93 00:06:38,316 --> 00:06:41,516 Speaker 1: never seen him work, and he just came right out 94 00:06:41,996 --> 00:06:46,516 Speaker 1: at Mike and he centered. And when when somebody centers, 95 00:06:46,556 --> 00:06:49,516 Speaker 1: well they don't even have to move, you know, that 96 00:06:49,716 --> 00:06:54,956 Speaker 1: whole energy comes into them, back to the band, out 97 00:06:55,036 --> 00:06:59,036 Speaker 1: through them and it acts like some sort of battery 98 00:06:59,396 --> 00:07:02,356 Speaker 1: or something. So that was that's what I got out 99 00:07:02,356 --> 00:07:07,316 Speaker 1: of them. And with James Brown, it's sure, it's amazing 100 00:07:07,396 --> 00:07:10,876 Speaker 1: to watch what he's Julia get everything, but what's really 101 00:07:10,916 --> 00:07:16,676 Speaker 1: behind it, what makes it click. From the moment he's 102 00:07:16,716 --> 00:07:20,236 Speaker 1: getting ready, even before he steps out there, until he's 103 00:07:20,316 --> 00:07:28,036 Speaker 1: gone from your sight, the concentration never ebbs. He never 104 00:07:28,516 --> 00:07:31,596 Speaker 1: goes down to ninety percent while he reaches for a 105 00:07:31,636 --> 00:07:34,236 Speaker 1: glass of water. And if he oh no, no, no 106 00:07:35,916 --> 00:07:43,596 Speaker 1: at all time. It's a concentration. It resembles paranoia, and yeah, 107 00:07:44,476 --> 00:07:47,596 Speaker 1: he's really there, you know, and I used to love 108 00:07:47,636 --> 00:07:53,876 Speaker 1: it is. And one of his autobiographies he would tell 109 00:07:53,916 --> 00:07:59,276 Speaker 1: about a backstage he would have a hairdresser because he 110 00:07:59,516 --> 00:08:04,156 Speaker 1: wouldn't leave the backstage until his hair was perfectly quaffed again, 111 00:08:04,476 --> 00:08:08,156 Speaker 1: and no one could see him that way. And he 112 00:08:08,276 --> 00:08:11,116 Speaker 1: told the story once about how the one they got 113 00:08:11,156 --> 00:08:14,196 Speaker 1: the band got to the point where he had a Cadillac, 114 00:08:14,556 --> 00:08:17,716 Speaker 1: but they didn't have AC at it or it was 115 00:08:17,916 --> 00:08:23,476 Speaker 1: broken or something. At some point they they had to 116 00:08:23,516 --> 00:08:26,076 Speaker 1: travel down the road with all the windows of dying 117 00:08:26,516 --> 00:08:30,556 Speaker 1: of asphyxiation, so everybody would think they had the ac 118 00:08:31,316 --> 00:08:34,436 Speaker 1: you know. And he tells another time about Yes, he 119 00:08:34,556 --> 00:08:37,036 Speaker 1: tells it about another time when the same car broke 120 00:08:37,156 --> 00:08:39,476 Speaker 1: down and he said, yes, so I made the band 121 00:08:39,996 --> 00:08:42,156 Speaker 1: get out and crouch down and push it, but so 122 00:08:42,356 --> 00:08:46,796 Speaker 1: nobody would see jump in, you know, all stuff like that. 123 00:08:47,076 --> 00:08:51,996 Speaker 1: You know, it's very very full full on. You know. 124 00:08:53,076 --> 00:08:56,636 Speaker 1: He has a Christmas song, one of his great Christmas songs, 125 00:08:57,036 --> 00:08:59,916 Speaker 1: and he gets to the end of, you know, some 126 00:08:59,916 --> 00:09:03,356 Speaker 1: some homilies about Christmas, and every day that he goes 127 00:09:03,796 --> 00:09:06,636 Speaker 1: and be sure to come to my Christmas show. You know, 128 00:09:06,796 --> 00:09:10,276 Speaker 1: he said, sell that Christmas show and by the Christmas record, 129 00:09:10,396 --> 00:09:13,996 Speaker 1: you know, yeah, his work at it. You know. Did 130 00:09:14,036 --> 00:09:17,436 Speaker 1: you ever get to see The Doors live? Yeah? Yeah, yeah, 131 00:09:17,516 --> 00:09:21,436 Speaker 1: well that was the big push. I saw them twice live, 132 00:09:21,556 --> 00:09:26,156 Speaker 1: and the first one was what pushed me into getting 133 00:09:26,196 --> 00:09:28,676 Speaker 1: on stage or the Stooges. I'd been trying to form 134 00:09:28,716 --> 00:09:30,996 Speaker 1: the band, and we were living together and trying to 135 00:09:31,036 --> 00:09:35,676 Speaker 1: get ideas for what we might do. And The Doors, 136 00:09:36,196 --> 00:09:40,196 Speaker 1: after their first album, came to the University of Michigan 137 00:09:40,276 --> 00:09:45,996 Speaker 1: to play of Homecoming dance in a basketball arena, not 138 00:09:46,116 --> 00:09:49,116 Speaker 1: even arena like we have now, just a basketball place 139 00:09:49,276 --> 00:09:52,796 Speaker 1: with some bleachers, sort of like the scene in the 140 00:09:52,876 --> 00:09:57,836 Speaker 1: Nirvana video, right, okay like that, and there was just 141 00:09:57,916 --> 00:10:01,356 Speaker 1: a little stage, you know, eighteen inches high or something. 142 00:10:01,996 --> 00:10:06,556 Speaker 1: They had Jordan Boss amps and a column speakers instead 143 00:10:06,596 --> 00:10:09,516 Speaker 1: of a PA. They did not have enough equipment to 144 00:10:09,556 --> 00:10:13,676 Speaker 1: reach the room, and they didn't know about that sort 145 00:10:13,676 --> 00:10:16,316 Speaker 1: of thing yet. They were a weekend band, coming out 146 00:10:16,356 --> 00:10:18,876 Speaker 1: and playing on the weekends and then going back to 147 00:10:18,996 --> 00:10:23,316 Speaker 1: LA But they had this big hit record and the 148 00:10:23,476 --> 00:10:28,076 Speaker 1: band came kind of sauntered out without Morrison and started 149 00:10:28,156 --> 00:10:32,516 Speaker 1: up the rift to Soul Kitchen. It didn't really sound 150 00:10:32,596 --> 00:10:36,476 Speaker 1: right because it just wasn't amplified in a way that 151 00:10:36,556 --> 00:10:38,916 Speaker 1: you could grasp it. It was all right, I guess. 152 00:10:39,556 --> 00:10:43,276 Speaker 1: And then he came out dressed in black vinyl head 153 00:10:43,316 --> 00:10:47,876 Speaker 1: to toe with a ruffled shirt. His hair was oiled 154 00:10:48,196 --> 00:10:53,396 Speaker 1: and curled and down past his nipples, and his eyes 155 00:10:53,436 --> 00:10:56,836 Speaker 1: were like saucers. He was obviously on a lot of 156 00:10:57,436 --> 00:11:02,956 Speaker 1: probably LSD, could have been psilocybin, and he sort of 157 00:11:03,356 --> 00:11:07,356 Speaker 1: did this thing like Tina Turner might do, or sothre 158 00:11:07,396 --> 00:11:09,836 Speaker 1: like Mick Jagger might do. Were you the arms go 159 00:11:09,996 --> 00:11:12,996 Speaker 1: up like a chicken, but his was a more drunken version, 160 00:11:13,716 --> 00:11:17,876 Speaker 1: and he didn't sing. He just ad The guys at 161 00:11:17,916 --> 00:11:20,756 Speaker 1: this thing are like, you know, they're frat guys with 162 00:11:20,876 --> 00:11:24,116 Speaker 1: their dates, and they're starting to think, what is this ship? 163 00:11:24,716 --> 00:11:27,556 Speaker 1: You know, they're getting pissed off. And then when he 164 00:11:27,716 --> 00:11:32,356 Speaker 1: started to finally sing, he sang soul Kitchen in a falsetto. 165 00:11:33,156 --> 00:11:39,156 Speaker 1: They're class it's time, Yeah, in a falsetto, and then yeah, 166 00:11:39,236 --> 00:11:43,236 Speaker 1: and they started getting really bad, and you put, you know, 167 00:11:43,316 --> 00:11:45,556 Speaker 1: do things like you do if you're if you're drunk. 168 00:11:45,556 --> 00:11:49,076 Speaker 1: He put his arm around Robbie Krieger's this is my man, 169 00:11:50,196 --> 00:11:53,036 Speaker 1: my man gonna play some blues. You know, there's like 170 00:11:53,596 --> 00:11:55,796 Speaker 1: like a bad drunk and that was about to get 171 00:11:55,836 --> 00:11:59,156 Speaker 1: eighty six from a bar. Yeah, I believe. Yeah, So 172 00:11:59,196 --> 00:12:03,156 Speaker 1: the I was just fascinated. Yeah, I loved it, and 173 00:12:03,156 --> 00:12:06,756 Speaker 1: I said, wow, you know this guy is this is 174 00:12:06,836 --> 00:12:09,476 Speaker 1: quite a spectacle that he's getting away with this, and 175 00:12:10,556 --> 00:12:13,516 Speaker 1: that the gig was. They got through it a very 176 00:12:13,596 --> 00:12:18,156 Speaker 1: short program and left basically, and they were kind of 177 00:12:18,236 --> 00:12:21,516 Speaker 1: lucky not to get their butts kicked. Yeah, it was 178 00:12:21,556 --> 00:12:25,836 Speaker 1: a crew cut time still for most people then. So 179 00:12:25,956 --> 00:12:31,076 Speaker 1: I thought, well, boy, I could do that. Well, yes, exactly, 180 00:12:31,156 --> 00:12:33,796 Speaker 1: I could do that. Yeah, the old I could. I 181 00:12:33,796 --> 00:12:41,036 Speaker 1: could alienate people, yeah they hate him, I can yeah, yeah, yeah, 182 00:12:41,076 --> 00:12:44,516 Speaker 1: exactly exactly. Funny. What was the second time you saw 183 00:12:44,556 --> 00:12:48,956 Speaker 1: them like that? Was different? They played Cobal Hall in Detroit. 184 00:12:49,676 --> 00:12:52,676 Speaker 1: It was either on their second or third album. Had 185 00:12:52,716 --> 00:12:56,636 Speaker 1: a full house and a large, you know, typical arena 186 00:12:56,796 --> 00:13:03,316 Speaker 1: stage and beautifully amplified. Everything really well separated and produced, 187 00:13:03,356 --> 00:13:06,716 Speaker 1: and he sounded great and they just went through their 188 00:13:06,756 --> 00:13:10,156 Speaker 1: stuff and it sounded good. But he's still took the 189 00:13:10,316 --> 00:13:12,956 Speaker 1: effort to try to do something a little different. So 190 00:13:13,036 --> 00:13:16,396 Speaker 1: at one time he sort of jumped off the stage 191 00:13:17,036 --> 00:13:22,476 Speaker 1: and ran again kind of in a pre Raphaelite way, 192 00:13:23,516 --> 00:13:26,996 Speaker 1: up the whole setter aisle of the arena to the 193 00:13:27,076 --> 00:13:30,276 Speaker 1: back and then ran all the way back during an 194 00:13:30,276 --> 00:13:36,716 Speaker 1: instrumental part. And then later after the show, Dave, all 195 00:13:36,756 --> 00:13:40,196 Speaker 1: the students went. Dave the bass player, said to me, yeah, 196 00:13:40,196 --> 00:13:42,916 Speaker 1: I was walking. I was walking to the men's room. 197 00:13:43,516 --> 00:13:48,316 Speaker 1: There's Jim Morrison walking around, you know, outside in the corridor, 198 00:13:48,396 --> 00:13:51,396 Speaker 1: and he said hi. You know, so he was like 199 00:13:51,476 --> 00:13:55,116 Speaker 1: that he had this concept, you know, he had this 200 00:13:55,156 --> 00:14:00,996 Speaker 1: one lyric American boy, American girl, most beautiful people in 201 00:14:01,076 --> 00:14:06,676 Speaker 1: the world, a nice, nice sentiment, you know. So I 202 00:14:06,716 --> 00:14:10,276 Speaker 1: think he had this, uh he wanted to be a kid. 203 00:14:10,916 --> 00:14:13,596 Speaker 1: And he would say, they teach me how to live. 204 00:14:14,076 --> 00:14:18,076 Speaker 1: So I think he wanted to be a kid forever 205 00:14:18,796 --> 00:14:22,356 Speaker 1: sort of thing. And there was something really really nice 206 00:14:22,396 --> 00:14:27,716 Speaker 1: in that. I saw a footage of his performances, and 207 00:14:27,836 --> 00:14:31,636 Speaker 1: he was deliberate on stage. He'd be thinking he'd been 208 00:14:31,676 --> 00:14:33,796 Speaker 1: wanting to come up with something to get put some 209 00:14:33,956 --> 00:14:36,836 Speaker 1: entertainment in here. But on the other hand, he would 210 00:14:36,836 --> 00:14:39,316 Speaker 1: sought her across the stage just to move the mic 211 00:14:39,436 --> 00:14:42,516 Speaker 1: stand or something. Okay, I'm moving a mic stand now 212 00:14:42,676 --> 00:14:45,436 Speaker 1: or whatever it is. What was the first time you 213 00:14:45,476 --> 00:14:51,636 Speaker 1: ever bled on stage? That would have been the second 214 00:14:51,876 --> 00:14:56,396 Speaker 1: Stooges show. It was sort of my first stage dive too. 215 00:14:56,436 --> 00:14:59,516 Speaker 1: We re opened him from Mothers of Invention at the 216 00:14:59,596 --> 00:15:04,196 Speaker 1: Ballroom and I was just at this point it was like, 217 00:15:04,636 --> 00:15:06,716 Speaker 1: if this group is going to survive, we have to 218 00:15:06,756 --> 00:15:11,196 Speaker 1: do something every show, make sure nothing nobody forgets us. 219 00:15:12,236 --> 00:15:16,156 Speaker 1: And so I didn't feel the full connection was being made. 220 00:15:17,036 --> 00:15:20,476 Speaker 1: And there were a couple of very healthy girls who 221 00:15:20,476 --> 00:15:23,676 Speaker 1: were laying on their backs right in front of the 222 00:15:23,756 --> 00:15:26,556 Speaker 1: stage watching the thing, and I thought, well, I'm just 223 00:15:26,556 --> 00:15:29,876 Speaker 1: going to fall on top of them that maybe that'll 224 00:15:29,916 --> 00:15:33,156 Speaker 1: be exciting and I so I did that, and they 225 00:15:33,356 --> 00:15:36,436 Speaker 1: separated and I hit my teeth. I used to have 226 00:15:36,516 --> 00:15:41,836 Speaker 1: these protuberant front teeth. I hit them on the floor 227 00:15:41,876 --> 00:15:46,316 Speaker 1: and I chipped one and one went through my my 228 00:15:46,596 --> 00:15:48,316 Speaker 1: you know, I cut a little cut in my lip 229 00:15:48,356 --> 00:15:51,196 Speaker 1: and started to bleed a little. So that that was 230 00:15:51,236 --> 00:15:54,116 Speaker 1: the first time. Do you think if you were not 231 00:15:54,556 --> 00:16:00,796 Speaker 1: in a band and not performing, you would still in 232 00:16:00,916 --> 00:16:04,956 Speaker 1: regular life put yourself in situations where you would end 233 00:16:05,036 --> 00:16:12,156 Speaker 1: up bloody or beaten. That's interesting. I don't generally, I 234 00:16:12,196 --> 00:16:15,356 Speaker 1: don't have a very long history of being beaten by others, 235 00:16:16,316 --> 00:16:18,916 Speaker 1: just a couple of times. So it's mostly, you know, 236 00:16:19,436 --> 00:16:23,916 Speaker 1: mostly my own doing. Probably, I would say, if only 237 00:16:23,996 --> 00:16:28,116 Speaker 1: because my mother used to. My mother told me that, 238 00:16:28,436 --> 00:16:30,996 Speaker 1: I think, and I remembered. By the time I was six, 239 00:16:31,836 --> 00:16:35,796 Speaker 1: I already had twelve or fifteen stitches in my chin 240 00:16:35,996 --> 00:16:40,636 Speaker 1: from running and falling overhead first, headlong, that sort of thing. 241 00:16:41,316 --> 00:16:47,516 Speaker 1: So maybe that was just there in my fate. Perhaps. Yeah. Yeah, 242 00:16:47,556 --> 00:16:52,076 Speaker 1: I haven't blared in well, Yeah, I had one on 243 00:16:52,156 --> 00:16:56,156 Speaker 1: the last tour. I tripped over something. It hits. I 244 00:16:56,276 --> 00:17:00,036 Speaker 1: bleed a lot less these days. Yeah. Yeah. Has it 245 00:17:00,116 --> 00:17:04,956 Speaker 1: ever been intentional or it's always been accidental? It has been. 246 00:17:05,556 --> 00:17:08,956 Speaker 1: There was a long period of time when I was 247 00:17:09,236 --> 00:17:13,316 Speaker 1: just very uncomfortable with the relationship with the audience it 248 00:17:13,356 --> 00:17:18,036 Speaker 1: would be with if the relationship wasn't good and I 249 00:17:18,116 --> 00:17:21,076 Speaker 1: had to keep going or you know, here I am 250 00:17:21,156 --> 00:17:24,716 Speaker 1: in the wrong town or the wrong place or whatever, 251 00:17:25,276 --> 00:17:28,196 Speaker 1: and I would just kind of scratch, you know. And 252 00:17:28,276 --> 00:17:33,236 Speaker 1: I wasn't scratching to make blood. I was just scratching, 253 00:17:34,156 --> 00:17:38,116 Speaker 1: you know. So that became kind of a something that 254 00:17:38,756 --> 00:17:41,516 Speaker 1: was present on and off for a long time and 255 00:17:41,916 --> 00:17:45,356 Speaker 1: had to do with my nerves. I don't have those 256 00:17:45,396 --> 00:17:50,916 Speaker 1: problems anymore, but other times, like there was a fairly 257 00:17:50,996 --> 00:17:56,436 Speaker 1: famous time when I got a big gash and Max's 258 00:17:56,516 --> 00:18:00,956 Speaker 1: Kansas City, and that was just I was on top 259 00:18:00,996 --> 00:18:03,676 Speaker 1: of a table trying to get a rise out of 260 00:18:03,716 --> 00:18:07,196 Speaker 1: a Look you play Max's Kansas City. At that time, 261 00:18:07,836 --> 00:18:11,716 Speaker 1: it had become so celebrated that they put in rock 262 00:18:11,836 --> 00:18:15,316 Speaker 1: shows and if you were someone like us, like the 263 00:18:15,356 --> 00:18:20,196 Speaker 1: Stooges at the time, the entire audience, it seemed they 264 00:18:20,196 --> 00:18:23,996 Speaker 1: were all critics, and they all have glasses on and 265 00:18:24,156 --> 00:18:27,756 Speaker 1: I could see the stage lights reflected at their glasses. 266 00:18:27,836 --> 00:18:30,796 Speaker 1: They're all just kind of staring at us, right, they 267 00:18:30,836 --> 00:18:34,196 Speaker 1: give you nothing back. And so I got on top 268 00:18:34,276 --> 00:18:38,916 Speaker 1: of a cocktail table to sing, trying to push things 269 00:18:38,956 --> 00:18:43,636 Speaker 1: a little bit, and the table lost the balance at 270 00:18:43,636 --> 00:18:47,876 Speaker 1: the table, the table went over and I got cut 271 00:18:47,956 --> 00:18:50,956 Speaker 1: on the stem of a broken margarita glass. But it 272 00:18:51,076 --> 00:18:55,036 Speaker 1: was an accident. I didn't roll around in glass or anything. 273 00:18:55,476 --> 00:18:59,076 Speaker 1: It was just an accident. One thing about me, if 274 00:18:59,116 --> 00:19:01,796 Speaker 1: I get hurt or if I get cold, or if 275 00:19:01,836 --> 00:19:04,916 Speaker 1: I'm in the rain or whatever it is, I'm not 276 00:19:04,956 --> 00:19:12,356 Speaker 1: going to stop. I don't do that. I'm not gonna sorry. Nah, 277 00:19:12,436 --> 00:19:15,356 Speaker 1: So you know, I just keep going. In that case, 278 00:19:15,396 --> 00:19:21,396 Speaker 1: I kept going, and and there there was blood was drippy. Okay, okay, 279 00:19:21,676 --> 00:19:24,356 Speaker 1: oh wait a minute, ladies and gentlemen, while I take 280 00:19:24,396 --> 00:19:27,476 Speaker 1: care of no, I'm doing the show. Yeah, yeah, you're 281 00:19:27,596 --> 00:19:34,956 Speaker 1: James Brown. I think I'm James Brown. Yes, I do. Yep, 282 00:19:35,956 --> 00:19:40,556 Speaker 1: the spirit of James Brown has crept into my body. Yes, 283 00:19:40,676 --> 00:19:47,036 Speaker 1: I understand. An English guy who had the sir god 284 00:19:47,196 --> 00:19:52,036 Speaker 1: lord somebody he was a lord who had this show, 285 00:19:52,196 --> 00:19:55,036 Speaker 1: south Bank show, a big arts show there, and he 286 00:19:55,116 --> 00:19:59,876 Speaker 1: came to Miami to interview and he said, well, obviously 287 00:20:00,276 --> 00:20:07,116 Speaker 1: you are possessed, so you know. Yeah, so there you go. 288 00:20:07,436 --> 00:20:10,676 Speaker 1: You know. We're gonna pause for a quick break and 289 00:20:10,716 --> 00:20:13,436 Speaker 1: then we'll be back with Rick Rubin and Iggy Pop. 290 00:20:17,596 --> 00:20:20,876 Speaker 1: We're back with more from Rick Rubin's conversation with Iggy Pop. 291 00:20:21,516 --> 00:20:24,036 Speaker 1: We talked a little bit about your relationship to music earlier. 292 00:20:24,076 --> 00:20:26,556 Speaker 1: Would you say that music is different for you than 293 00:20:26,636 --> 00:20:30,156 Speaker 1: other forms of art or can you be as taken 294 00:20:30,196 --> 00:20:35,076 Speaker 1: and moved by all kinds of great art. Painting is 295 00:20:35,276 --> 00:20:41,476 Speaker 1: close painting because it doesn't move, and it gives me 296 00:20:41,596 --> 00:20:44,956 Speaker 1: more of a chance to go in. But it's not 297 00:20:45,796 --> 00:20:49,156 Speaker 1: in the same does not have the same drama for 298 00:20:49,396 --> 00:20:53,476 Speaker 1: me or the same raw excitement, but it does have 299 00:20:53,596 --> 00:20:59,636 Speaker 1: a powerful, powerful impact. It can be anything from a 300 00:20:59,756 --> 00:21:06,356 Speaker 1: primitive to a Francis Bacon to somebody contemporary. Even movies, 301 00:21:07,436 --> 00:21:10,676 Speaker 1: I wish there was something great since the French New Wave. 302 00:21:10,956 --> 00:21:15,716 Speaker 1: Frankly you know less and less, so with the films, 303 00:21:15,956 --> 00:21:20,196 Speaker 1: I would say, you know, but I'm still interested. The 304 00:21:20,276 --> 00:21:22,116 Speaker 1: one thing with the movie is what I used to 305 00:21:22,156 --> 00:21:25,156 Speaker 1: do when I'd have trouble in my career, I would 306 00:21:25,196 --> 00:21:31,236 Speaker 1: go to see a hero. So I remember when I 307 00:21:31,276 --> 00:21:36,276 Speaker 1: was between the first edition of the Studges had fallen apart, 308 00:21:36,836 --> 00:21:39,996 Speaker 1: and I was trying to restart do the second edition 309 00:21:40,036 --> 00:21:42,916 Speaker 1: that would do the raw pour when I was in 310 00:21:42,996 --> 00:21:46,556 Speaker 1: New York at that time when eventually I hooked up, 311 00:21:47,316 --> 00:21:50,836 Speaker 1: But at the meantime, I wanted to see Clint Eastwood. 312 00:21:51,236 --> 00:21:53,676 Speaker 1: So I went to Times Square and I saw the good, 313 00:21:53,716 --> 00:21:57,196 Speaker 1: the bad, and ugly, and I was just reassuring to 314 00:21:57,236 --> 00:22:01,196 Speaker 1: watch a guy that could get the job done. And 315 00:22:01,916 --> 00:22:06,036 Speaker 1: years later here in La. I was down and out, 316 00:22:06,076 --> 00:22:09,196 Speaker 1: and I spent a few of my last dollars to 317 00:22:09,316 --> 00:22:13,396 Speaker 1: see Gosh, it was the again. It was Clints, one 318 00:22:13,436 --> 00:22:17,716 Speaker 1: of Clint's movies where kind of a neo Nazi gang 319 00:22:17,756 --> 00:22:21,596 Speaker 1: has infiltrated the San Francisco police department. I can't remember 320 00:22:21,636 --> 00:22:24,956 Speaker 1: the name of that one. And then later there was 321 00:22:24,996 --> 00:22:29,676 Speaker 1: another time there was an Elvis movie on and I walked. 322 00:22:30,116 --> 00:22:34,156 Speaker 1: I was back at the trailer and with my parents. 323 00:22:35,196 --> 00:22:39,276 Speaker 1: I was maybe in the early twenties, in between between contracts, 324 00:22:39,676 --> 00:22:42,636 Speaker 1: and I walked into town to see Hare Him, Scare Him. 325 00:22:42,956 --> 00:22:45,676 Speaker 1: It was a terrible movie where he's dressed up in 326 00:22:46,116 --> 00:22:50,956 Speaker 1: He's dressed up like ebc Haber before Ecber and singing 327 00:22:51,076 --> 00:22:54,236 Speaker 1: these crappy sage. But it was Elvis, you know, so 328 00:22:54,316 --> 00:22:58,476 Speaker 1: that there's something about that that I like. You know, 329 00:22:59,196 --> 00:23:02,436 Speaker 1: how do you find new music? I look in the 330 00:23:03,836 --> 00:23:08,396 Speaker 1: smaller The main source would be the smaller reviews in 331 00:23:08,636 --> 00:23:15,196 Speaker 1: daily papers. The Guardian in England has a really they're 332 00:23:15,356 --> 00:23:20,156 Speaker 1: very thorough about all sorts of stuff. It'll be mentioned 333 00:23:20,676 --> 00:23:24,836 Speaker 1: or reviewed in a short a short way that's almost 334 00:23:24,876 --> 00:23:28,516 Speaker 1: just like news that it exists. And I listened to 335 00:23:28,556 --> 00:23:31,916 Speaker 1: a lot of that and then gig guides. I go 336 00:23:32,036 --> 00:23:34,516 Speaker 1: through the gig guides and if I like the name 337 00:23:34,556 --> 00:23:37,916 Speaker 1: of the band, like I went through the gig guide 338 00:23:37,916 --> 00:23:40,276 Speaker 1: of a couple of years ago, and there's this band. 339 00:23:40,516 --> 00:23:44,436 Speaker 1: It was in London, some playground and Joe and the 340 00:23:44,476 --> 00:23:50,996 Speaker 1: ship Boys, and I said, that sounds cool. Who are 341 00:23:51,036 --> 00:23:55,116 Speaker 1: these people? And you know what, I listened to their music. 342 00:23:55,516 --> 00:24:00,796 Speaker 1: They're a simple but effective, well they play well together, 343 00:24:01,156 --> 00:24:05,756 Speaker 1: really cleverly thought out punk band. But it turns out 344 00:24:05,836 --> 00:24:11,516 Speaker 1: at the time they build themselves as vegan queer punk 345 00:24:11,836 --> 00:24:16,236 Speaker 1: from the Pharaoh Islands, right, So I just liked to 346 00:24:16,756 --> 00:24:20,236 Speaker 1: listen to their music. They have like songs like Macho band, 347 00:24:20,556 --> 00:24:26,316 Speaker 1: Randy Savage, Randy Savage, right, and it's entertaining and clever 348 00:24:26,476 --> 00:24:28,916 Speaker 1: and they have a lot of good songs. There was 349 00:24:28,956 --> 00:24:33,556 Speaker 1: another one I found that way. There's a band it's 350 00:24:33,596 --> 00:24:38,516 Speaker 1: basically two guys I think they're probably Island heritage in 351 00:24:38,556 --> 00:24:44,036 Speaker 1: England called Bob Villain Vy Lad and David has some 352 00:24:44,476 --> 00:24:48,116 Speaker 1: smashing good numbers and that's more like a little more 353 00:24:48,196 --> 00:24:52,716 Speaker 1: social protest all the ship Boys or social too. But 354 00:24:52,796 --> 00:24:55,116 Speaker 1: I listened to everything. I listen to everything. I have 355 00:24:55,156 --> 00:24:59,116 Speaker 1: a radio show on the BBC. I have to come 356 00:24:59,196 --> 00:25:02,756 Speaker 1: up with two hours forty weeks a year, so you 357 00:25:02,916 --> 00:25:05,636 Speaker 1: come up twelve hundred songs and I try not to repeat. 358 00:25:06,436 --> 00:25:09,356 Speaker 1: So listen to a lot of new stuff and I 359 00:25:09,356 --> 00:25:13,236 Speaker 1: I like it pretty wide selection. And then sometimes if 360 00:25:13,276 --> 00:25:19,756 Speaker 1: you use Spotify, then it leads you. Sometimes the algorithm 361 00:25:19,916 --> 00:25:21,996 Speaker 1: is right, well, I do like this other thing you 362 00:25:22,036 --> 00:25:24,556 Speaker 1: thought I would like, you know, so I do it 363 00:25:24,676 --> 00:25:29,436 Speaker 1: like that. And sometimes I'll go to the music papers too, 364 00:25:29,996 --> 00:25:34,676 Speaker 1: you know, but they tend to cluster around something that 365 00:25:34,756 --> 00:25:37,676 Speaker 1: has to do with their advertisers or their backers or 366 00:25:38,036 --> 00:25:43,516 Speaker 1: their particular thing, so it's not maybe not as fruitful 367 00:25:43,596 --> 00:25:46,836 Speaker 1: for me. But I go there, Oh and friends and France. 368 00:25:47,156 --> 00:25:52,796 Speaker 1: Oh yeah, I have sources. I ask, can you send 369 00:25:52,796 --> 00:25:54,556 Speaker 1: me more of that? Like, yeah, you have a couple 370 00:25:54,556 --> 00:25:57,436 Speaker 1: of people in France, or send me I especially like 371 00:25:57,636 --> 00:26:04,276 Speaker 1: the Francophone afro beat stuff as killer and you need 372 00:26:04,356 --> 00:26:07,996 Speaker 1: somebody French to steer you with that. Have you ever 373 00:26:08,116 --> 00:26:10,476 Speaker 1: used the what's the name of that? It's a French 374 00:26:10,596 --> 00:26:14,316 Speaker 1: app radio wo wo wo woa. No, I don't know. 375 00:26:14,476 --> 00:26:17,516 Speaker 1: Radio whoo whoa, whoa whoa. You'd like that. It's not 376 00:26:17,676 --> 00:26:21,476 Speaker 1: new music, but it's really cool. It's a streaming service 377 00:26:21,596 --> 00:26:24,916 Speaker 1: that shows you a map of the world a globe, 378 00:26:25,396 --> 00:26:28,276 Speaker 1: and you can pick any country in the world, yeah, 379 00:26:28,476 --> 00:26:33,036 Speaker 1: and any decade and it'll play music as if it's 380 00:26:33,076 --> 00:26:37,836 Speaker 1: the radio playing in that country, like Morocco nineteen fifty. 381 00:26:37,996 --> 00:26:41,636 Speaker 1: What does that sound like? It's so cool. You'll love 382 00:26:41,876 --> 00:26:46,596 Speaker 1: thank you. It's fun. Yeah, yeah, yeah, I like radio. Whoa, woa, whoa, 383 00:26:46,876 --> 00:26:49,636 Speaker 1: You're gonna love it. Wow cool. Tell me about the 384 00:26:50,716 --> 00:26:54,156 Speaker 1: Electric album covers. So I feel like those album covers 385 00:26:54,196 --> 00:26:56,436 Speaker 1: are some of the best album covers in the history 386 00:26:56,516 --> 00:27:01,516 Speaker 1: of rock music. How did it happen? Well, the first 387 00:27:01,636 --> 00:27:06,276 Speaker 1: one we did was a guy named Joel Brodsky and 388 00:27:07,196 --> 00:27:12,716 Speaker 1: the first Stooges album done at his studio, and he 389 00:27:13,036 --> 00:27:17,316 Speaker 1: had done the Doors albums, So the guy directing the 390 00:27:17,556 --> 00:27:21,036 Speaker 1: art at Electra was also the general manager. They used 391 00:27:21,076 --> 00:27:24,276 Speaker 1: to double up in those days. Well, get Robsky to 392 00:27:24,356 --> 00:27:26,436 Speaker 1: do it, but do something a little like the Doors, 393 00:27:26,556 --> 00:27:30,876 Speaker 1: you know. So I had ten got ten stitches back 394 00:27:30,956 --> 00:27:33,996 Speaker 1: to the Blood because I was like, this is I 395 00:27:34,036 --> 00:27:35,956 Speaker 1: don't want to be just like the Doors. This is 396 00:27:35,996 --> 00:27:38,836 Speaker 1: going to be too boring. So how about there There 397 00:27:38,876 --> 00:27:41,876 Speaker 1: are outtakes from that session that are around where the 398 00:27:42,556 --> 00:27:45,956 Speaker 1: stooges are all crouching out the floor as I fly 399 00:27:46,196 --> 00:27:50,596 Speaker 1: through the air over them, and he had a concrete 400 00:27:50,716 --> 00:27:54,836 Speaker 1: floor and I so we had to stop the session. 401 00:27:55,116 --> 00:27:57,236 Speaker 1: They stitched me up and brought me back and we 402 00:27:57,356 --> 00:28:01,716 Speaker 1: continued later in the afternoon. But that was that was 403 00:28:01,756 --> 00:28:05,876 Speaker 1: how that one was done. The fun house cover that 404 00:28:06,156 --> 00:28:09,596 Speaker 1: is mainly my part, and the back ground of that 405 00:28:09,916 --> 00:28:12,636 Speaker 1: is the that is the floor of the Whiskey of 406 00:28:12,756 --> 00:28:16,636 Speaker 1: Go Go in front of the stage. And we played 407 00:28:16,676 --> 00:28:21,516 Speaker 1: at the Whiskey. As bands often do when you're fledgling, 408 00:28:22,276 --> 00:28:25,676 Speaker 1: you go somewhere to record, and then the company says, yeah, 409 00:28:25,716 --> 00:28:28,396 Speaker 1: how about a couple of dates to defray our expenses, 410 00:28:28,516 --> 00:28:30,676 Speaker 1: you know, you play, will take the money, you know. 411 00:28:30,836 --> 00:28:33,796 Speaker 1: So we played the La and San Francisco and at 412 00:28:33,796 --> 00:28:36,836 Speaker 1: the Whiskey. I was sort of rioting around on the 413 00:28:36,916 --> 00:28:39,996 Speaker 1: floor trying to get some action going, and there was 414 00:28:40,116 --> 00:28:45,916 Speaker 1: a photographer there who was Edgariff, a very groovy young guy, 415 00:28:46,636 --> 00:28:50,916 Speaker 1: you know, and he shot the group in the studio 416 00:28:50,996 --> 00:28:55,076 Speaker 1: and also at the Whiskey, and then collaged the things 417 00:28:55,196 --> 00:29:01,916 Speaker 1: really nicely. I thought, so beautiful and just beautiful, beautiful art. Yeah, 418 00:29:02,436 --> 00:29:04,596 Speaker 1: that's what I thought it was really really nice, and 419 00:29:05,036 --> 00:29:08,436 Speaker 1: we were all we were all young and fresh and 420 00:29:08,596 --> 00:29:11,036 Speaker 1: excited to do it. You know, we all had a 421 00:29:11,116 --> 00:29:14,956 Speaker 1: certain The band had a certain aesthetic. You can see 422 00:29:14,996 --> 00:29:19,236 Speaker 1: it that carried on later. We wore we never really 423 00:29:19,276 --> 00:29:23,196 Speaker 1: went deep into stage costumes. We stated it was like 424 00:29:23,356 --> 00:29:27,636 Speaker 1: a certain area of normal clothes, but not quite normal, 425 00:29:28,156 --> 00:29:31,396 Speaker 1: cut a certain way. So when we started, you were 426 00:29:31,436 --> 00:29:34,436 Speaker 1: telling the story, we ended up going back to talking 427 00:29:34,436 --> 00:29:36,836 Speaker 1: about the Stooges. But when we started, the first thing 428 00:29:36,916 --> 00:29:39,356 Speaker 1: we were talking about was how you met David and 429 00:29:39,476 --> 00:29:42,316 Speaker 1: you said that you joined the Station Station to tour. 430 00:29:42,756 --> 00:29:44,556 Speaker 1: Tell me how it worked out that you guys started 431 00:29:44,596 --> 00:29:46,916 Speaker 1: working together, and how did it work out that the 432 00:29:47,236 --> 00:29:53,236 Speaker 1: Stooges stopped and you started doing solo. Yeah. Well, basically, 433 00:29:54,236 --> 00:29:58,356 Speaker 1: after meeting him and Tony Defrieze in Maxis, Kansas City, 434 00:29:59,916 --> 00:30:03,276 Speaker 1: it was agreed that we'd go to England and make 435 00:30:03,316 --> 00:30:05,476 Speaker 1: a record. But they really just wanted me to make 436 00:30:05,836 --> 00:30:08,036 Speaker 1: the record. They didn't want to have anything to do 437 00:30:08,116 --> 00:30:12,076 Speaker 1: with the Stooges. I talked them into the first one 438 00:30:12,196 --> 00:30:16,996 Speaker 1: guy and then let's get the Stooges. David offered to 439 00:30:17,196 --> 00:30:20,156 Speaker 1: produce the record. I think that's what he really wanted 440 00:30:20,196 --> 00:30:23,156 Speaker 1: to do, and I declined on the grounds that I 441 00:30:23,316 --> 00:30:26,596 Speaker 1: already had a vision for what the band needed to 442 00:30:26,756 --> 00:30:29,116 Speaker 1: do at this time, which I did and what I 443 00:30:29,196 --> 00:30:34,356 Speaker 1: wanted to make, And I'm glad I did because when 444 00:30:34,436 --> 00:30:38,596 Speaker 1: I got him later to work with me, his skills 445 00:30:38,636 --> 00:30:41,996 Speaker 1: had taken a big jump. So around that same time 446 00:30:42,116 --> 00:30:46,956 Speaker 1: when I declined, the Stoogest thing, he'd cut a single 447 00:30:47,036 --> 00:30:49,796 Speaker 1: with Manta Hoople, and the way that works is he 448 00:30:49,876 --> 00:30:52,596 Speaker 1: could write a better song than they could. So they 449 00:30:52,716 --> 00:30:56,076 Speaker 1: put out all the young dudes, and then a guy 450 00:30:56,196 --> 00:31:00,316 Speaker 1: like that who's moving right along in his career, you 451 00:31:00,436 --> 00:31:02,836 Speaker 1: get the experience he's going to be done with the 452 00:31:02,836 --> 00:31:06,236 Speaker 1: young wants to go do something else. So he got 453 00:31:06,316 --> 00:31:08,196 Speaker 1: them up to a certain point and then they had 454 00:31:08,276 --> 00:31:12,676 Speaker 1: to kind of carry on right another all the young 455 00:31:12,796 --> 00:31:15,556 Speaker 1: dudes or forget it. So that was difficult for them. 456 00:31:16,356 --> 00:31:19,596 Speaker 1: It wouldn't have been good for us. So we did that, 457 00:31:20,476 --> 00:31:25,196 Speaker 1: and there was raw Power was actually finished before Ziggy 458 00:31:25,316 --> 00:31:29,196 Speaker 1: starred Us to Us, but they decided to put out 459 00:31:29,316 --> 00:31:35,876 Speaker 1: Ziggy Start Us first, and through various frustrations and the 460 00:31:35,996 --> 00:31:37,996 Speaker 1: fact that even though it's a great record, s not 461 00:31:38,076 --> 00:31:41,836 Speaker 1: commercial in that way. In those times, raw power kind 462 00:31:41,916 --> 00:31:45,756 Speaker 1: of fizzled out. The band fizzled out, Everything fizzled out. 463 00:31:46,236 --> 00:31:51,516 Speaker 1: I fizzled out. Fast forward. There was a wonderful man 464 00:31:51,756 --> 00:31:56,956 Speaker 1: named Freddie Sessler who was an extremely close friend and 465 00:31:57,076 --> 00:32:02,156 Speaker 1: confident in Keith Richards. Freddie looked and sounded like Cheeko 466 00:32:02,236 --> 00:32:06,356 Speaker 1: Marx and he was a survivor of Auschwitz. He had 467 00:32:06,436 --> 00:32:10,476 Speaker 1: the stamp right on his arm, and he was a 468 00:32:10,916 --> 00:32:15,196 Speaker 1: crazy rocket roll fan. Ain't talking like this, you know, Hey, 469 00:32:16,036 --> 00:32:18,156 Speaker 1: I like what you're doing. I would have COVID see you. 470 00:32:18,996 --> 00:32:22,556 Speaker 1: And Freddie was a guy who knew how to get 471 00:32:23,356 --> 00:32:27,236 Speaker 1: out of any jail. Nobody really knew why. And he 472 00:32:27,556 --> 00:32:31,196 Speaker 1: also had a lot of a certain substance that was 473 00:32:31,276 --> 00:32:37,436 Speaker 1: always pure from the from the pharmaceutical companies. So I 474 00:32:37,596 --> 00:32:42,436 Speaker 1: got caught shoplifting once apples and cheese and the Merry 475 00:32:42,476 --> 00:32:47,836 Speaker 1: Mayfair Market in Beverly Hills, and Freddie bail be out 476 00:32:47,876 --> 00:32:51,436 Speaker 1: of jail and he said, hey, he listened. You know, 477 00:32:51,836 --> 00:32:54,836 Speaker 1: David wants to see you. I want to go down 478 00:32:54,916 --> 00:32:58,476 Speaker 1: to San Diego where's two started. He wants to see 479 00:32:58,516 --> 00:33:01,036 Speaker 1: you and it would be great. And I said, God, 480 00:33:01,276 --> 00:33:02,876 Speaker 1: I don't want to bother you know, me. You know, 481 00:33:03,036 --> 00:33:05,356 Speaker 1: he's no, no, no, it's gonna be great. So he 482 00:33:05,516 --> 00:33:09,636 Speaker 1: put us on the phone and David said, I, I've 483 00:33:09,676 --> 00:33:12,716 Speaker 1: got a track that would be good for you. I 484 00:33:12,836 --> 00:33:15,156 Speaker 1: think we could build something around that. Why don't you 485 00:33:15,276 --> 00:33:18,196 Speaker 1: come down and listen to it. So I had nothing 486 00:33:18,236 --> 00:33:21,756 Speaker 1: else going on, and I liked what he was doing 487 00:33:21,836 --> 00:33:24,436 Speaker 1: at the time that was stationed to station. That was 488 00:33:24,476 --> 00:33:28,916 Speaker 1: a great record. Man cut it Cherokee in La. So 489 00:33:29,076 --> 00:33:33,116 Speaker 1: I went down there and listen to what became Sister Midnight, 490 00:33:33,276 --> 00:33:36,276 Speaker 1: listening to the backing track. So we started from there. 491 00:33:36,316 --> 00:33:38,956 Speaker 1: He said, look, if you come across with us on 492 00:33:39,076 --> 00:33:42,116 Speaker 1: this tour, by the time we get done with Europe, 493 00:33:42,196 --> 00:33:46,076 Speaker 1: we could make a record. So it was common and 494 00:33:46,836 --> 00:33:51,316 Speaker 1: it still is. We worked under something called a production contract, 495 00:33:51,876 --> 00:33:55,316 Speaker 1: which you know, generally the way that works is when 496 00:33:55,356 --> 00:34:00,556 Speaker 1: a star becomes hot, it's easy for them to their 497 00:34:00,676 --> 00:34:03,356 Speaker 1: manager and to go to the record company there with 498 00:34:03,516 --> 00:34:05,716 Speaker 1: and say how much will you give us for our 499 00:34:06,036 --> 00:34:09,556 Speaker 1: start to produce something on this other artist or our company, 500 00:34:09,916 --> 00:34:14,196 Speaker 1: And of course the parent company is gonna doesn't want 501 00:34:14,556 --> 00:34:19,556 Speaker 1: the artist to start talking to any other company. They went, yeah, sure, 502 00:34:19,636 --> 00:34:22,316 Speaker 1: we'll help you out with anything you want. To do. Yeah, yeah, yeah, 503 00:34:22,356 --> 00:34:25,676 Speaker 1: So that's the I was signed to Beauley Brothers for 504 00:34:26,356 --> 00:34:29,916 Speaker 1: three albums and they sold that to our Cia and 505 00:34:30,116 --> 00:34:33,716 Speaker 1: so we started work on it basically as we went 506 00:34:33,756 --> 00:34:41,076 Speaker 1: across America and he was traveling by car. It's the 507 00:34:41,196 --> 00:34:43,596 Speaker 1: same car and driver that is in the Man That 508 00:34:43,756 --> 00:34:48,156 Speaker 1: Fell to Earth movie, Tony Massias. The guys name Tony 509 00:34:48,316 --> 00:34:51,436 Speaker 1: was a wonderful man. He had done some time in 510 00:34:51,556 --> 00:34:56,196 Speaker 1: sing Sing for Manslaughter and he was out just a 511 00:34:56,636 --> 00:35:01,716 Speaker 1: great guy from the Bronx and he was the driver 512 00:35:01,956 --> 00:35:07,076 Speaker 1: minder and we would go by night in his car 513 00:35:07,596 --> 00:35:11,476 Speaker 1: from city to city with one of these little plastic 514 00:35:12,036 --> 00:35:15,996 Speaker 1: record players in the back and it was him and 515 00:35:16,156 --> 00:35:20,636 Speaker 1: me and Tony and his Coco Schwab, his pa. And 516 00:35:21,596 --> 00:35:26,876 Speaker 1: he has always had somebody sourcing him the newest interesting 517 00:35:26,956 --> 00:35:32,076 Speaker 1: records from America and Europe. So the three that were 518 00:35:32,156 --> 00:35:38,116 Speaker 1: in heavy rotation actually the Yeah on that was Craftwork, Radioactivity, 519 00:35:39,156 --> 00:35:42,636 Speaker 1: their first Ramones album, and the Tom Waits album with 520 00:35:42,836 --> 00:35:46,396 Speaker 1: Copper Penny on it that early one. Yeah, those three. 521 00:35:46,876 --> 00:35:50,676 Speaker 1: Listening to those a lot and the craft Work made 522 00:35:50,756 --> 00:35:54,436 Speaker 1: the biggest influence on what we were about to do. 523 00:35:55,276 --> 00:35:57,836 Speaker 1: And then at the end of it, we went in 524 00:35:58,196 --> 00:36:02,356 Speaker 1: Aero V and just started writing sort of king ponging 525 00:36:02,596 --> 00:36:07,436 Speaker 1: back and forth. That was creative and odd, the whole thing, 526 00:36:07,596 --> 00:36:10,676 Speaker 1: and you know, China or was probably the best lyric 527 00:36:10,796 --> 00:36:13,516 Speaker 1: I came up with on that. I was having an 528 00:36:13,556 --> 00:36:18,796 Speaker 1: affair with somebody Vietnamese around the studio, but also the 529 00:36:18,996 --> 00:36:25,716 Speaker 1: Chinese government was beginning to allow small Chinese official government 530 00:36:25,796 --> 00:36:28,836 Speaker 1: shops were cropping up at that time around Europe where 531 00:36:28,876 --> 00:36:35,516 Speaker 1: they sold Chinese rugs, little figurines, the little Red book, 532 00:36:36,116 --> 00:36:38,876 Speaker 1: you know, that sort of thing. And I thought, this 533 00:36:39,116 --> 00:36:42,676 Speaker 1: is a coming culture, and so I was trying to 534 00:36:42,836 --> 00:36:47,476 Speaker 1: sing a song about the two cultures meeting, and I 535 00:36:47,636 --> 00:36:51,556 Speaker 1: sang the line I'll give you television you know which. 536 00:36:51,876 --> 00:36:56,916 Speaker 1: But later Bad Company was recording. They came in to 537 00:36:57,036 --> 00:37:00,396 Speaker 1: start their record and while we were ending ours and 538 00:37:00,516 --> 00:37:03,756 Speaker 1: they heard me singing I'll give you televisions or the 539 00:37:03,796 --> 00:37:08,916 Speaker 1: we're doing, they started boxing that. Yeah yeah, but I 540 00:37:09,196 --> 00:37:13,356 Speaker 1: did well, I'll give you television yea interesting yeah lyric. 541 00:37:14,076 --> 00:37:19,276 Speaker 1: So that was that one, and Brian Eno visited there 542 00:37:19,316 --> 00:37:23,236 Speaker 1: at that time to start the process that was going 543 00:37:23,316 --> 00:37:28,316 Speaker 1: to lead to Low and both albums were done between 544 00:37:28,676 --> 00:37:32,876 Speaker 1: air V and France and Music Box in Munich and 545 00:37:33,036 --> 00:37:37,396 Speaker 1: then Hans in Berlin. But that was that, and then 546 00:37:37,476 --> 00:37:40,676 Speaker 1: the we did the tour after that where he played 547 00:37:40,716 --> 00:37:44,956 Speaker 1: in the band, and immediately at the end of the 548 00:37:45,076 --> 00:37:48,876 Speaker 1: tour we were right back in and the lust for 549 00:37:49,036 --> 00:37:52,636 Speaker 1: life was more. He'd had enough of the whole thing, 550 00:37:52,716 --> 00:37:54,876 Speaker 1: so we sat down and wrote. The whole thing was 551 00:37:54,916 --> 00:37:59,276 Speaker 1: written about two days. Wow, and it's literally yeah, literally, okay, 552 00:37:59,516 --> 00:38:04,916 Speaker 1: here's one I'm rewriting. And I was recording them as 553 00:38:04,956 --> 00:38:07,356 Speaker 1: I had on the first I record his ideas on 554 00:38:07,516 --> 00:38:13,556 Speaker 1: a Phillips manial cassette machine weighed about ten pounds and 555 00:38:14,316 --> 00:38:17,916 Speaker 1: costs like twenty five bucks, you know, And I'd record 556 00:38:17,996 --> 00:38:22,596 Speaker 1: the ideas and then come up with lyrics or a concept, 557 00:38:23,076 --> 00:38:26,916 Speaker 1: and that one went faster. In the studio. We were 558 00:38:26,916 --> 00:38:32,316 Speaker 1: about two weeks kaboom kabum, including mixing. It seems like 559 00:38:32,396 --> 00:38:35,596 Speaker 1: you figured out I wouldn't call it a formula, but 560 00:38:35,716 --> 00:38:38,036 Speaker 1: you found a way to work together, and you can 561 00:38:38,156 --> 00:38:40,276 Speaker 1: you were continuing that process so you didn't have to. 562 00:38:40,596 --> 00:38:42,796 Speaker 1: It was less figuring it out and more just doing 563 00:38:42,836 --> 00:38:47,036 Speaker 1: it exactly. And there was also, you know, there was 564 00:38:47,156 --> 00:38:51,716 Speaker 1: a contractual side to it. He had he would get 565 00:38:51,756 --> 00:38:54,916 Speaker 1: a certain amount of money to deliver album two and 566 00:38:55,636 --> 00:38:58,876 Speaker 1: I needed to have album too, And then eventually for 567 00:38:58,996 --> 00:39:02,796 Speaker 1: album three, we just did a live you know, everybody. 568 00:39:02,876 --> 00:39:05,116 Speaker 1: He wanted to go his way, I wanted to go mine, 569 00:39:05,436 --> 00:39:09,756 Speaker 1: and that as he is very normal and happens. Did 570 00:39:09,796 --> 00:39:13,396 Speaker 1: you guys remain friends for the rest of his life. Yeah, yeah, 571 00:39:13,516 --> 00:39:17,076 Speaker 1: and we've you know, he would call and come and 572 00:39:17,356 --> 00:39:19,876 Speaker 1: see this, what about that and everything, and we go 573 00:39:19,956 --> 00:39:23,636 Speaker 1: out and you know, or he'd bring He brought Keith 574 00:39:23,836 --> 00:39:25,996 Speaker 1: Richard to my gig, which was a thrill for me, 575 00:39:26,116 --> 00:39:28,556 Speaker 1: and I got to know Keith. And then he brought 576 00:39:28,676 --> 00:39:32,596 Speaker 1: Mick Jagger to one of my gigs and sat backstages 577 00:39:32,676 --> 00:39:36,476 Speaker 1: and the singers wearing no shirt. He's wearing no shirts. 578 00:39:38,276 --> 00:39:41,636 Speaker 1: You know. Blah blah blah. You know, I had stuff 579 00:39:41,716 --> 00:39:45,996 Speaker 1: like that, and then eventually we did one more album 580 00:39:46,076 --> 00:39:50,156 Speaker 1: again about eight years later, called Blah Blah Blah, because 581 00:39:50,236 --> 00:39:53,876 Speaker 1: he had heard I played him some demos. We were 582 00:39:53,916 --> 00:39:57,116 Speaker 1: swapping demos up at his gigs at the Carlisle Hotel 583 00:39:58,036 --> 00:40:02,076 Speaker 1: and I had I had demos some stuff with Steve Jones, 584 00:40:02,676 --> 00:40:06,316 Speaker 1: you know, a little a little home studio in LA 585 00:40:06,436 --> 00:40:12,076 Speaker 1: and Steve was just newly sober and interested in playing 586 00:40:12,836 --> 00:40:16,516 Speaker 1: in ways he hadn't before. And I was interested in 587 00:40:17,316 --> 00:40:20,876 Speaker 1: singing morna baritone. So I had three or four good 588 00:40:20,956 --> 00:40:25,876 Speaker 1: demos or Steven David heard those and well, we could 589 00:40:25,916 --> 00:40:27,636 Speaker 1: make that. We could make a record out of that, 590 00:40:27,756 --> 00:40:31,156 Speaker 1: and he wanted he wanted to do it in Switzerland 591 00:40:31,436 --> 00:40:35,796 Speaker 1: because he had a residency requirement at that time. Steve 592 00:40:35,876 --> 00:40:38,676 Speaker 1: couldn't leave the US at that time, he didn't have 593 00:40:38,796 --> 00:40:43,076 Speaker 1: the right pisa together. So we used Steve's tracks, and 594 00:40:43,436 --> 00:40:46,196 Speaker 1: Steve plays on the album just by use of the tracks, 595 00:40:46,236 --> 00:40:50,196 Speaker 1: and it's an eight o eight drum machine. And Kevin 596 00:40:50,356 --> 00:40:56,036 Speaker 1: Armstrong also on guitar, and that was that was interesting. 597 00:40:56,356 --> 00:41:01,436 Speaker 1: It was we recorded at Montro, that studio where everybody goes, 598 00:41:01,916 --> 00:41:06,636 Speaker 1: you know. And then we stayed quite friendly and stayed 599 00:41:06,676 --> 00:41:11,236 Speaker 1: in touch up through untill about the beginning of the nineties. 600 00:41:11,916 --> 00:41:15,756 Speaker 1: And then at some point both people were on different 601 00:41:15,996 --> 00:41:19,996 Speaker 1: trips and different wavelengths. But the last time I spoke 602 00:41:20,076 --> 00:41:24,196 Speaker 1: to him he called me up. I had gone to Miami. 603 00:41:24,236 --> 00:41:26,436 Speaker 1: He called me up in two thousand and two or 604 00:41:26,676 --> 00:41:32,796 Speaker 1: three until he was interested in signing me. He was 605 00:41:33,236 --> 00:41:36,156 Speaker 1: going to start a new label. He didn't didn't eventually 606 00:41:36,236 --> 00:41:39,756 Speaker 1: at Columbia, and I wanted to stay where I was, 607 00:41:40,396 --> 00:41:43,476 Speaker 1: so I just stay where I was. He talked to 608 00:41:43,596 --> 00:41:47,636 Speaker 1: me about he curated somebody called Meltdown at one time 609 00:41:47,716 --> 00:41:51,436 Speaker 1: one year in London, the Meltdown Festival, and I ended 610 00:41:51,516 --> 00:41:54,956 Speaker 1: up not doing it because I was busy doing other things. 611 00:41:55,756 --> 00:42:00,836 Speaker 1: So it was it was a cordial, cordial call. After 612 00:42:00,876 --> 00:42:02,596 Speaker 1: this quick break, we'll be back with the rest of 613 00:42:02,716 --> 00:42:10,236 Speaker 1: Rick's conversation with Iggy Pop. We're back with Rick Rubin 614 00:42:10,676 --> 00:42:13,436 Speaker 1: and Iggy Pop. How long have you lived in Miami 615 00:42:14,036 --> 00:42:17,316 Speaker 1: Since the end of ninety eight, so it's been about 616 00:42:17,356 --> 00:42:20,836 Speaker 1: twenty four years though. How has Miami changed over that 617 00:42:20,876 --> 00:42:25,196 Speaker 1: period of time? Oh well, what used to be was 618 00:42:25,276 --> 00:42:29,876 Speaker 1: a large open space under populated, which was wonderful at 619 00:42:29,916 --> 00:42:33,876 Speaker 1: the time, and it drew a lot of quirky people, 620 00:42:35,276 --> 00:42:40,116 Speaker 1: which was just perfect for me. You know. For instance, 621 00:42:40,276 --> 00:42:44,116 Speaker 1: when I got there, there was a street in Miami Beach. 622 00:42:44,556 --> 00:42:48,476 Speaker 1: It was Eleventh Street between Collins and Washington. There was 623 00:42:48,516 --> 00:42:53,396 Speaker 1: a storefront and Luke Skywalker from two Life Crew had 624 00:42:53,716 --> 00:42:57,636 Speaker 1: had Luke Records there and that was the headquarters. And 625 00:42:57,836 --> 00:43:01,156 Speaker 1: there was a large piece of what they called drywall 626 00:43:01,876 --> 00:43:05,236 Speaker 1: in the front window, this picture window of a small 627 00:43:05,596 --> 00:43:10,036 Speaker 1: you know, a small shop window, and was spray painted 628 00:43:10,716 --> 00:43:16,516 Speaker 1: a picture of a brown beauty in a tiny bikini 629 00:43:16,636 --> 00:43:24,476 Speaker 1: with totally impossible curves, right seated sviving at you under 630 00:43:24,716 --> 00:43:29,196 Speaker 1: a palm tree with giant cocaduts, added Luke Records. You know. 631 00:43:29,636 --> 00:43:33,676 Speaker 1: So there's things like that, and a lot of open 632 00:43:33,796 --> 00:43:38,876 Speaker 1: space and breezes and a lot of rundown old buildings 633 00:43:39,116 --> 00:43:42,276 Speaker 1: that had been the great hotels of the fifties. And 634 00:43:42,836 --> 00:43:45,796 Speaker 1: originally when I was there, I got a condo in 635 00:43:45,916 --> 00:43:49,916 Speaker 1: one of those. I bought it from a character named 636 00:43:49,996 --> 00:43:54,396 Speaker 1: Jonathan Shaw, was a son of Artie Shaw and a 637 00:43:54,836 --> 00:43:59,036 Speaker 1: great tattoo artist and a man's man, a two fisted 638 00:44:00,396 --> 00:44:05,316 Speaker 1: rides your motorcycle to Rio dejan Arrow, you know, man man, 639 00:44:05,556 --> 00:44:08,756 Speaker 1: kind of a guy. And I bought it from him 640 00:44:08,796 --> 00:44:12,116 Speaker 1: for Fordy grant. And you had a hot plate. It 641 00:44:12,316 --> 00:44:15,356 Speaker 1: was like an sro, like an old bed's single rube 642 00:44:15,396 --> 00:44:19,916 Speaker 1: occupants the apartment, but right there with the killer view 643 00:44:19,996 --> 00:44:23,836 Speaker 1: of the beach, you know, in the beach, and yeah, wonderful, wonderful, 644 00:44:24,596 --> 00:44:27,876 Speaker 1: And uh I went from there, I bought a little house. 645 00:44:28,196 --> 00:44:31,236 Speaker 1: I'd never I'd never done that for myself before. And 646 00:44:31,356 --> 00:44:34,476 Speaker 1: I went there with no manager, no roady, no minder, 647 00:44:34,676 --> 00:44:38,956 Speaker 1: just all alone and bought a little what they call 648 00:44:39,076 --> 00:44:43,036 Speaker 1: a Venetian revival house. It's like a house you'd see 649 00:44:43,076 --> 00:44:46,116 Speaker 1: in Corsica or something with the barrel vault tiles and 650 00:44:46,276 --> 00:44:50,596 Speaker 1: the ceiling like with the vaulting and the peaks and 651 00:44:51,316 --> 00:44:54,636 Speaker 1: nice tile work. And I was able to I was 652 00:44:54,716 --> 00:44:57,556 Speaker 1: calm enough. I was able to quit smoking, right, you know, 653 00:44:57,716 --> 00:44:59,716 Speaker 1: things things that are very hard to do in New 654 00:44:59,796 --> 00:45:03,356 Speaker 1: York City. And I had never bought my own car. 655 00:45:04,436 --> 00:45:08,596 Speaker 1: So I called a car dealership and they started to 656 00:45:08,716 --> 00:45:12,756 Speaker 1: ask me these questions, you know, like well, what is 657 00:45:12,836 --> 00:45:16,116 Speaker 1: your job and who's the employer number and all they said. 658 00:45:16,156 --> 00:45:18,236 Speaker 1: I was like, oh, this is not fun. So I 659 00:45:18,356 --> 00:45:21,236 Speaker 1: come up and I looked in the classifieds and I 660 00:45:21,316 --> 00:45:29,236 Speaker 1: saw five thousand dollars cherry red Cadillac Deville convertible nineteen 661 00:45:29,436 --> 00:45:33,476 Speaker 1: sixty seven. I said, that sounds like me. And you know, 662 00:45:33,596 --> 00:45:35,796 Speaker 1: I go to the guy's house and you know, he's 663 00:45:35,876 --> 00:45:39,596 Speaker 1: like this big hairy guy who you know, could be 664 00:45:39,756 --> 00:45:43,596 Speaker 1: like a motorcycle cop or a pilot or something. And 665 00:45:44,596 --> 00:45:47,556 Speaker 1: I said, well, this is car's beautiful. I said, how 666 00:45:47,596 --> 00:45:50,716 Speaker 1: does she run and he dangled the keys in front 667 00:45:50,716 --> 00:45:53,156 Speaker 1: of me and he said, she ready to go to 668 00:45:53,316 --> 00:46:00,116 Speaker 1: California right now? You know, this is cool, you know. 669 00:46:00,316 --> 00:46:03,036 Speaker 1: So I bought that car and I drove that all 670 00:46:03,116 --> 00:46:09,196 Speaker 1: around Miami and Miami Beach for years. And now the 671 00:46:09,436 --> 00:46:12,516 Speaker 1: big money's there, so they're getting permits. They've built up. 672 00:46:13,156 --> 00:46:18,716 Speaker 1: There's more shade, less light, more wind tunnels, less breeze, 673 00:46:19,916 --> 00:46:24,716 Speaker 1: like hard to park, more dangerous. It was always dangerous. 674 00:46:24,956 --> 00:46:28,836 Speaker 1: It's an edgy place, you know, but so that's just 675 00:46:28,996 --> 00:46:33,156 Speaker 1: what it is. But it's still for America. There's a 676 00:46:33,236 --> 00:46:36,956 Speaker 1: certain ease about the life there. Do you everythink about 677 00:46:36,996 --> 00:46:40,196 Speaker 1: moving close by? But not in Miami just like, you know, 678 00:46:40,476 --> 00:46:43,316 Speaker 1: an hour away in any direction, and it's yeah, more 679 00:46:43,396 --> 00:46:45,956 Speaker 1: like what it used to be. Probably, I have a 680 00:46:46,076 --> 00:46:50,636 Speaker 1: place an hour away by plane. I'm in the boondocks there. 681 00:46:51,436 --> 00:46:54,036 Speaker 1: I love that, you know. I don't know if I'd 682 00:46:54,116 --> 00:46:58,556 Speaker 1: moved to rural Florida or not, because because there is 683 00:46:58,676 --> 00:47:01,956 Speaker 1: no more rural Florida left, ory the everywhere that's nice 684 00:47:02,196 --> 00:47:06,836 Speaker 1: that's rural, they've build up and build over. It's it's 685 00:47:06,956 --> 00:47:09,316 Speaker 1: pretty bad. You'd have to move to the Everglade. It's 686 00:47:09,756 --> 00:47:13,876 Speaker 1: pretty much. You know, there were still people, some people 687 00:47:13,956 --> 00:47:16,636 Speaker 1: in the last hurricane that still had a couple of 688 00:47:16,676 --> 00:47:20,756 Speaker 1: little idyllic communities there and they lost them. It's Florida 689 00:47:20,916 --> 00:47:25,276 Speaker 1: is a very fast growing state, especially since Donald Trump 690 00:47:25,636 --> 00:47:30,156 Speaker 1: changed the tax deduction laws. There's no deduction for state tax. 691 00:47:30,876 --> 00:47:34,516 Speaker 1: So a lot of people from California and from New 692 00:47:34,596 --> 00:47:38,956 Speaker 1: York to escape that, and also from New York to 693 00:47:39,436 --> 00:47:43,476 Speaker 1: a lot of people came during COVID because these are 694 00:47:43,556 --> 00:47:47,076 Speaker 1: people that have had some wealth, but suddenly they didn't 695 00:47:47,076 --> 00:47:49,956 Speaker 1: want to take the elevator anymore. I understand that, you know, 696 00:47:50,116 --> 00:47:51,996 Speaker 1: so you could come to Florida and get a little 697 00:47:52,076 --> 00:47:58,596 Speaker 1: patriledand with with your home. It's growing. It's also more 698 00:47:58,596 --> 00:48:00,996 Speaker 1: of an outdoor culture. I imagine you spend much more 699 00:48:01,036 --> 00:48:04,716 Speaker 1: time outside there than in New York. Yes, that's why 700 00:48:04,756 --> 00:48:09,596 Speaker 1: I went there. And I had visited in the Ovindes 701 00:48:10,196 --> 00:48:13,396 Speaker 1: and I saw houses where the insiders out and the 702 00:48:13,436 --> 00:48:16,956 Speaker 1: outsiders in. There were lizards in the house. I loved 703 00:48:17,076 --> 00:48:20,636 Speaker 1: that there are lizards in the house. They come and go, 704 00:48:21,316 --> 00:48:23,276 Speaker 1: you know, so I wanted, I told the real or 705 00:48:23,356 --> 00:48:25,956 Speaker 1: I want to see something like that, you know, yeah, 706 00:48:26,236 --> 00:48:29,196 Speaker 1: house with lizards please, yes, yeah, and I did. I 707 00:48:29,276 --> 00:48:32,476 Speaker 1: got house with lizards. Yeah, yeah, yeah. Do you ever 708 00:48:32,596 --> 00:48:35,156 Speaker 1: imagine living back in Detroit or would that not be 709 00:48:35,276 --> 00:48:39,116 Speaker 1: a thing he would do? I would if I didn't 710 00:48:39,156 --> 00:48:43,236 Speaker 1: know anybody and nobody knew me, That's what I'd say. 711 00:48:43,916 --> 00:48:48,636 Speaker 1: But because of who I was a long time ago, 712 00:48:48,836 --> 00:48:52,796 Speaker 1: what I went through, and whatever vestiges of that might 713 00:48:52,876 --> 00:48:56,316 Speaker 1: still be there, I would not, you know, I would not, 714 00:48:56,556 --> 00:49:00,836 Speaker 1: but otherwise I would because Michigan people are cool. Michigan 715 00:49:00,916 --> 00:49:05,876 Speaker 1: people are really great people, and it's probably very inexpensive 716 00:49:06,476 --> 00:49:10,036 Speaker 1: to live well, you know, and there's still there's still space. 717 00:49:10,636 --> 00:49:12,476 Speaker 1: Do you think of Detroit as home or do you 718 00:49:12,556 --> 00:49:17,316 Speaker 1: think of Miami as home? Miami? Yeah, Dutch my home 719 00:49:17,396 --> 00:49:20,676 Speaker 1: and that cool? Yeah. Well, I feel like we could 720 00:49:20,716 --> 00:49:23,476 Speaker 1: talk for probably another six hours, so maybe we do 721 00:49:23,596 --> 00:49:26,956 Speaker 1: this again soon. Okay, cool, But I love talking to you, 722 00:49:27,116 --> 00:49:30,316 Speaker 1: and I love learning about music's talking antagony. It's great. 723 00:49:30,596 --> 00:49:34,756 Speaker 1: All right, cool? Hey, this was real nice, say amazing, 724 00:49:35,156 --> 00:49:41,276 Speaker 1: See you soon. Thanks again to Iggy Pop. You can 725 00:49:41,316 --> 00:49:43,876 Speaker 1: hear all of our favorite Iggy and student songs at 726 00:49:44,036 --> 00:49:48,156 Speaker 1: broken record podcast dot com. You can subscribe to our 727 00:49:48,196 --> 00:49:51,796 Speaker 1: YouTube channel at YouTube dot com slash Broken Record Podcast 728 00:49:51,996 --> 00:49:54,756 Speaker 1: we can find all of our new represents. You can 729 00:49:54,836 --> 00:49:58,516 Speaker 1: follow us on Twitter at broken Record. Broken Record is 730 00:49:58,516 --> 00:50:02,236 Speaker 1: produced with helpful Lea Rose, Jason Gambrel, Vent Holiday, and 731 00:50:02,556 --> 00:50:06,836 Speaker 1: Eric Sander. Our editor is Sophie Crane. Broken Record is 732 00:50:06,836 --> 00:50:09,596 Speaker 1: a production of Pushkin Industries. If you love this show 733 00:50:09,676 --> 00:50:13,716 Speaker 1: and others from Pushkin, consider subscribing to Pushkin Plus. Pushkin 734 00:50:13,756 --> 00:50:17,076 Speaker 1: Plus is a podcast subscription that offers bonus content an 735 00:50:17,156 --> 00:50:20,236 Speaker 1: uninterrupted ad for listening for four ninety nine a month. 736 00:50:20,676 --> 00:50:24,116 Speaker 1: Look for Pushkin Plus on Apple podcast subscriptions, and if 737 00:50:24,116 --> 00:50:26,636 Speaker 1: you like the show, please remember to share, rate, review 738 00:50:26,716 --> 00:50:29,996 Speaker 1: us on your podcast. Half my theme music expect Kenny Beats, 739 00:50:30,436 --> 00:50:31,436 Speaker 1: So I'm justin Motion.