1 00:00:00,080 --> 00:00:04,000 Speaker 1: Ruthie's Table four in collaboration with me and m Intelligence 2 00:00:04,000 --> 00:00:09,920 Speaker 1: Style for Busy Women. If you were looking for Ruthie 3 00:00:10,000 --> 00:00:13,960 Speaker 1: Rogers at eleven forty five pm last Friday night, you 4 00:00:13,960 --> 00:00:16,799 Speaker 1: would have found me in an abandoned office building, three 5 00:00:16,840 --> 00:00:21,360 Speaker 1: stories underground, dancing to Mark Ronson's set, with hundreds of 6 00:00:21,360 --> 00:00:24,239 Speaker 1: other people clinging to my friend Josh's hand in the 7 00:00:24,360 --> 00:00:28,120 Speaker 1: dark stairway. I asked, so, is this what they call 8 00:00:28,320 --> 00:00:32,400 Speaker 1: a rave? It was exhilarating and joyous, and definitely a 9 00:00:32,520 --> 00:00:36,160 Speaker 1: night to remember. Mark is a musician, a producer, a DJ, 10 00:00:36,280 --> 00:00:39,199 Speaker 1: and now an author, and quite simply one of the 11 00:00:39,280 --> 00:00:42,559 Speaker 1: nicest people I know. We share more in common than 12 00:00:42,560 --> 00:00:46,040 Speaker 1: you might imagine. We love work as much as fun, 13 00:00:46,640 --> 00:00:51,159 Speaker 1: strong friendships and family. His two year old daughter is 14 00:00:51,240 --> 00:00:55,080 Speaker 1: named Ruthie. Mark Is published a memoir Nine People How 15 00:00:55,120 --> 00:00:58,400 Speaker 1: to Be a DJ in nineties New York City, a moving, 16 00:00:58,840 --> 00:01:02,040 Speaker 1: highly self aware out of his childhood and early days 17 00:01:02,040 --> 00:01:05,319 Speaker 1: as a DJA. It's a love letter to a bygone 18 00:01:05,400 --> 00:01:08,480 Speaker 1: era when everyone was out in the clubs every night. 19 00:01:09,240 --> 00:01:11,840 Speaker 1: After my first rave, I planned to do the same. 20 00:01:12,640 --> 00:01:15,080 Speaker 1: I don't think either of us were out last night, 21 00:01:15,280 --> 00:01:18,479 Speaker 1: or at least I wasn't because at nine o'clock this morning, 22 00:01:18,520 --> 00:01:21,440 Speaker 1: were bright eyed and wide awake here at my house, 23 00:01:21,520 --> 00:01:26,039 Speaker 1: ready to talk about food, food and music, food and family, 24 00:01:26,480 --> 00:01:29,959 Speaker 1: food and memories, food and love. Now that's what I. 25 00:01:30,000 --> 00:01:33,320 Speaker 2: Call a rave. That's great. I love that. 26 00:01:34,280 --> 00:01:36,000 Speaker 1: When did the word race start? 27 00:01:36,280 --> 00:01:39,240 Speaker 2: Rave? As opposed to a nightclub? What distinguished it was? 28 00:01:39,400 --> 00:01:43,320 Speaker 2: Usually it was in a disused or an illegal venue 29 00:01:43,440 --> 00:01:46,479 Speaker 2: because it was a place for like underground parties to happen. 30 00:01:47,080 --> 00:01:49,960 Speaker 2: So the early raves, obviously, the old rave culture came 31 00:01:50,000 --> 00:01:52,800 Speaker 2: out of England and a little bit before my time, 32 00:01:52,840 --> 00:01:55,800 Speaker 2: probably the late eighties, and then I was in New 33 00:01:55,880 --> 00:02:00,160 Speaker 2: York and the early raves, or at least new or 34 00:02:00,240 --> 00:02:02,120 Speaker 2: trying to copy what was going on in London and 35 00:02:02,200 --> 00:02:05,960 Speaker 2: Manchester all happened in the early nineties. But it was 36 00:02:06,000 --> 00:02:08,720 Speaker 2: fueled by this thing of like kids wanted to go 37 00:02:08,800 --> 00:02:13,520 Speaker 2: out and dance en mass a thousand kids, take ecstasy 38 00:02:13,600 --> 00:02:16,959 Speaker 2: shore and do all this stuff and in these places, 39 00:02:17,040 --> 00:02:19,120 Speaker 2: and they weren't allowed to so they found, you know, 40 00:02:19,360 --> 00:02:22,480 Speaker 2: like disused warehouses and in the middle of a field 41 00:02:22,520 --> 00:02:25,080 Speaker 2: and all this kind of stuff. So as much as 42 00:02:25,080 --> 00:02:27,120 Speaker 2: I would love to believe that our Friday night was 43 00:02:27,160 --> 00:02:29,120 Speaker 2: a rave. I would say it was a little like 44 00:02:29,240 --> 00:02:31,920 Speaker 2: we call it low key raise, low key rave, but 45 00:02:32,240 --> 00:02:33,560 Speaker 2: it was amazing because it. 46 00:02:33,560 --> 00:02:35,880 Speaker 1: Was no I'm on a high key race. 47 00:02:35,960 --> 00:02:39,240 Speaker 2: No, no, no, no, as far as I'm concerned. At my age, 48 00:02:39,280 --> 00:02:41,280 Speaker 2: that was a high key rave. And it was so 49 00:02:41,400 --> 00:02:43,080 Speaker 2: nice to see. I was in the middle of playing 50 00:02:43,160 --> 00:02:46,160 Speaker 2: like whatever Drey and Snoop or something, and I just 51 00:02:46,200 --> 00:02:47,359 Speaker 2: looked to my right and you're there. 52 00:02:48,080 --> 00:02:50,200 Speaker 1: That was a high point in my life. 53 00:02:50,440 --> 00:02:52,480 Speaker 2: It was funny in what you're saying in the intro. 54 00:02:52,560 --> 00:02:54,800 Speaker 2: I think about you and being a chef and running 55 00:02:54,880 --> 00:02:58,000 Speaker 2: the restaurant and maybe being a DJ. Like I have 56 00:02:58,120 --> 00:03:01,200 Speaker 2: a job to do. I am fully concentrate on what 57 00:03:01,240 --> 00:03:03,919 Speaker 2: I'm doing, but I do have these like twenty seconds 58 00:03:03,960 --> 00:03:06,840 Speaker 2: in between. I can like, go and you're looking out 59 00:03:06,880 --> 00:03:09,760 Speaker 2: at this room with all your friends in it and 60 00:03:09,800 --> 00:03:12,240 Speaker 2: then a lot of strangers. But it's you know, it's 61 00:03:12,320 --> 00:03:14,600 Speaker 2: kind of imagine a little similar it is. 62 00:03:14,680 --> 00:03:17,200 Speaker 1: I think that I go in and you know, with cooking, 63 00:03:17,280 --> 00:03:19,560 Speaker 1: you really need to see every you know, I stand 64 00:03:19,600 --> 00:03:22,399 Speaker 1: at the past. We have an open kitchen. I can't 65 00:03:22,440 --> 00:03:26,440 Speaker 1: imagine being underground and not seeing the reactions of people 66 00:03:26,480 --> 00:03:29,079 Speaker 1: who are eating you're for good or for bad. Sometimes 67 00:03:29,080 --> 00:03:32,560 Speaker 1: you can go somebody looking, or you can see them sharing, 68 00:03:32,960 --> 00:03:34,800 Speaker 1: or they'll come up and say, how did you make that? 69 00:03:35,160 --> 00:03:37,880 Speaker 2: There's something that you said before that just stuck out. 70 00:03:37,920 --> 00:03:40,280 Speaker 2: It's like you can just remember the face of that 71 00:03:40,320 --> 00:03:42,120 Speaker 2: one person. I don't know if it's like this for you, 72 00:03:42,320 --> 00:03:44,280 Speaker 2: just the one person who's not enjoying it. You could 73 00:03:44,320 --> 00:03:47,480 Speaker 2: have one hundred and fifty people enjoying having the best 74 00:03:47,560 --> 00:03:50,360 Speaker 2: night ever met that one person who's just like putting 75 00:03:50,400 --> 00:03:52,600 Speaker 2: the food in a napkin, or my case, just standing 76 00:03:52,640 --> 00:03:56,680 Speaker 2: there with their arms crossed, not dancing. And I realized 77 00:03:57,040 --> 00:03:59,680 Speaker 2: because in the nineties, when I came up as a 78 00:03:59,720 --> 00:04:02,480 Speaker 2: day in New York City, we hung out a lot 79 00:04:02,480 --> 00:04:05,000 Speaker 2: with stand up comedians, and this was a time when 80 00:04:05,080 --> 00:04:07,120 Speaker 2: Dave Chappelle, Yeah, a lot of people are on the 81 00:04:07,120 --> 00:04:10,680 Speaker 2: way up. And I remember speaking to my stand up 82 00:04:10,720 --> 00:04:13,680 Speaker 2: comedian friends and realizing how much we had in common 83 00:04:13,680 --> 00:04:15,800 Speaker 2: because they too would just have like a great night 84 00:04:15,840 --> 00:04:17,919 Speaker 2: in the club, but would only remember just like the 85 00:04:18,000 --> 00:04:21,479 Speaker 2: one person's screw face there, and you go to sleep 86 00:04:21,520 --> 00:04:24,640 Speaker 2: with this person's face like imprinted in your brain. It's 87 00:04:24,680 --> 00:04:25,560 Speaker 2: I don't know if that's like. 88 00:04:25,520 --> 00:04:27,360 Speaker 1: That now I feel that I used to come back 89 00:04:27,400 --> 00:04:30,279 Speaker 1: and after a night Richard would say, how was it? 90 00:04:30,320 --> 00:04:33,680 Speaker 1: And I think, I think maybe I'll give up. Yeah, 91 00:04:35,080 --> 00:04:37,120 Speaker 1: I just think maybe this job isn't for me. And 92 00:04:37,279 --> 00:04:40,040 Speaker 1: it just felt, you know, either as you say, there's 93 00:04:40,040 --> 00:04:42,359 Speaker 1: the person who just kind of shook their head or 94 00:04:42,360 --> 00:04:45,880 Speaker 1: they sent their food back or whatever. Because and then 95 00:04:46,360 --> 00:04:48,360 Speaker 1: and then you have the other night where you're just flying, 96 00:04:48,440 --> 00:04:51,600 Speaker 1: you know, because but I think that people's reactions are 97 00:04:51,640 --> 00:04:56,680 Speaker 1: really that kind of immediate reaction is so important. Yeah, 98 00:05:02,720 --> 00:05:05,320 Speaker 1: so it's not quite fair that you can do so 99 00:05:05,400 --> 00:05:10,800 Speaker 1: many things. Well, no, DJ, you write music, you perform, 100 00:05:11,080 --> 00:05:14,560 Speaker 1: you produce, you write incredible songs that we all remember 101 00:05:14,600 --> 00:05:17,400 Speaker 1: and listen to. And now you've written a book, which 102 00:05:17,440 --> 00:05:20,160 Speaker 1: is a little bit like one more thing that Mark 103 00:05:20,279 --> 00:05:24,000 Speaker 1: Ronson has done. What made you think you were going 104 00:05:24,000 --> 00:05:24,800 Speaker 1: to write a book? 105 00:05:24,920 --> 00:05:27,479 Speaker 2: I don't know. I think quite a lot of my 106 00:05:27,560 --> 00:05:30,800 Speaker 2: friends when this time were actually dying. I hate to 107 00:05:30,839 --> 00:05:33,520 Speaker 2: sound like so Macaw, but I was thinking about my 108 00:05:33,560 --> 00:05:36,040 Speaker 2: best friend, this DJ Blue Gem so I came up 109 00:05:36,080 --> 00:05:38,800 Speaker 2: with and went to my first raves with, and used 110 00:05:38,839 --> 00:05:42,080 Speaker 2: to do a radio show and all this stuff and 111 00:05:42,360 --> 00:05:44,640 Speaker 2: all these memories from the nineties, which is such a 112 00:05:44,640 --> 00:05:48,279 Speaker 2: great time in New York, and you had Biggie and 113 00:05:48,400 --> 00:05:51,039 Speaker 2: jay Z and c Tip and all these people, like 114 00:05:51,080 --> 00:05:53,120 Speaker 2: these heroes of mine. They would be hanging out in 115 00:05:53,120 --> 00:05:55,000 Speaker 2: the club and the places I DJed that and it 116 00:05:55,040 --> 00:06:00,360 Speaker 2: was before VIP and bottle service, where like everybody mingled together. 117 00:06:00,400 --> 00:06:04,200 Speaker 2: The clubs were such a melting pot. And I also 118 00:06:04,240 --> 00:06:07,159 Speaker 2: really wanted to write a story about what it's like 119 00:06:07,279 --> 00:06:10,440 Speaker 2: to be a gigging DJ, like on the way up, 120 00:06:10,520 --> 00:06:12,599 Speaker 2: not when you're a superstar and you're like kind of 121 00:06:12,600 --> 00:06:15,120 Speaker 2: at the top and everyone's handing you everything. It's all easy, 122 00:06:15,160 --> 00:06:19,760 Speaker 2: but like doing it some nights playing for empty rooms 123 00:06:19,760 --> 00:06:22,200 Speaker 2: for fifty bucks and some nights you're playing in the 124 00:06:22,240 --> 00:06:27,320 Speaker 2: most fun basement ever, And what that emotional ride is 125 00:06:27,480 --> 00:06:31,520 Speaker 2: like and and technically a bit like what goes into DJing. 126 00:06:31,800 --> 00:06:33,599 Speaker 2: It's kind of a lot. Did you write? 127 00:06:33,839 --> 00:06:35,600 Speaker 1: When did you find the time to write? 128 00:06:36,880 --> 00:06:40,560 Speaker 2: I kind of had to. I had to. It took 129 00:06:40,560 --> 00:06:43,360 Speaker 2: over my life, you know, except for the time we 130 00:06:43,440 --> 00:06:46,680 Speaker 2: took out to really make work on Barbie. I took 131 00:06:46,839 --> 00:06:49,240 Speaker 2: it took me almost two and a half three years 132 00:06:49,240 --> 00:06:52,800 Speaker 2: to finish this book. And I would just write five hours. 133 00:06:53,320 --> 00:06:55,680 Speaker 2: I read the Stephen King book on writing, and he 134 00:06:55,800 --> 00:06:58,640 Speaker 2: really tells you like the discipline, I lock yourself in 135 00:06:58,680 --> 00:07:03,080 Speaker 2: a basement for five hours day and that's what I did. 136 00:07:03,800 --> 00:07:08,480 Speaker 1: That's a beautiful book. And I read it knowing that 137 00:07:08,600 --> 00:07:11,800 Speaker 1: I was going to meet you, but I thought that 138 00:07:11,880 --> 00:07:16,240 Speaker 1: it was just so honest, and it was took me 139 00:07:16,280 --> 00:07:19,840 Speaker 1: through the story of a time and a place, and 140 00:07:19,880 --> 00:07:22,000 Speaker 1: it took me through the story of your life of 141 00:07:22,200 --> 00:07:28,280 Speaker 1: you know, the emotion and the rigor and the experience 142 00:07:28,440 --> 00:07:30,960 Speaker 1: and the honesty. And I was wondering whether you might 143 00:07:31,000 --> 00:07:33,040 Speaker 1: read something from the book now. 144 00:07:33,400 --> 00:07:35,360 Speaker 2: I thought of this one thing just now, when you 145 00:07:35,400 --> 00:07:38,640 Speaker 2: were talking about, you know, in the vinyl era as 146 00:07:38,640 --> 00:07:42,160 Speaker 2: opposed to now, when you're bringing music on a USB 147 00:07:42,280 --> 00:07:45,200 Speaker 2: stick or a laptop, I would spend so much time 148 00:07:46,080 --> 00:07:49,000 Speaker 2: putting my records together preparing for the night, because you 149 00:07:49,000 --> 00:07:52,400 Speaker 2: could only bring a finite number of records with you, 150 00:07:52,760 --> 00:07:54,400 Speaker 2: and it was so much fun to think about what 151 00:07:54,560 --> 00:07:56,040 Speaker 2: kind of night it's going to be, who the crowds 152 00:07:56,040 --> 00:07:58,160 Speaker 2: can be, Is it going to be this kind of record? 153 00:07:58,200 --> 00:08:01,720 Speaker 2: So you almost have this connection with your audience, even 154 00:08:01,760 --> 00:08:04,360 Speaker 2: if you've imagined them before you get there, because you've bonded. 155 00:08:04,400 --> 00:08:07,560 Speaker 2: You picture this imaginary dance floor. This is this one 156 00:08:07,600 --> 00:08:11,200 Speaker 2: passage where I'm sitting on the floor of my apartment 157 00:08:11,240 --> 00:08:14,480 Speaker 2: on twenty ninth Street and twenty twenty one years old 158 00:08:14,480 --> 00:08:17,840 Speaker 2: at this point. That's just a short passage, but I 159 00:08:17,880 --> 00:08:23,640 Speaker 2: thought i'd read it. Album covers provided visual cues that 160 00:08:23,760 --> 00:08:27,000 Speaker 2: helped me start building up a set. The lipstick red 161 00:08:27,040 --> 00:08:31,600 Speaker 2: telephone on the cover of Clear's Intimate Connection instantly conjured 162 00:08:31,640 --> 00:08:34,240 Speaker 2: the sharp electro sounds of the Rollland eight to eight 163 00:08:34,360 --> 00:08:38,360 Speaker 2: drum machine in the song's production. That eight oh eight 164 00:08:38,720 --> 00:08:42,199 Speaker 2: led me to Marvin Gay's Sexual Healing with its iconic 165 00:08:42,280 --> 00:08:45,560 Speaker 2: rhythm track, then to Loose Ends Hanging on a string 166 00:08:46,520 --> 00:08:50,640 Speaker 2: and Shaka Khans Ain't Nobody. The con record wasn't made 167 00:08:50,640 --> 00:08:53,800 Speaker 2: with a drum machine, but its moody synth lines made 168 00:08:53,800 --> 00:08:57,480 Speaker 2: it a natural fit. And from Ain't Nobody, a DJ 169 00:08:57,559 --> 00:09:01,280 Speaker 2: could go anywhere no dance floor resist belting out that 170 00:09:01,880 --> 00:09:06,760 Speaker 2: oh oh, oh oh before the chorus. If you duck 171 00:09:06,840 --> 00:09:09,440 Speaker 2: the volume and let them sing it, that moment was 172 00:09:09,480 --> 00:09:12,360 Speaker 2: a perfect pivot to drop anything from soul to soul 173 00:09:12,480 --> 00:09:16,520 Speaker 2: to souls and mischief Sonic Fragments, an eight oh eight 174 00:09:16,600 --> 00:09:20,960 Speaker 2: conga or an arpeggiated synthmo teeth hummed constantly in my brain. 175 00:09:21,800 --> 00:09:23,760 Speaker 2: It was like I had a tiny antenna that was 176 00:09:23,800 --> 00:09:27,120 Speaker 2: always alert for the frequency of music. Standing in line 177 00:09:27,160 --> 00:09:30,200 Speaker 2: at the dry cleaner, I'd hear Bill Withers's Lovely Day 178 00:09:30,520 --> 00:09:33,760 Speaker 2: and immediately think, Oh, that would go perfectly with you 179 00:09:33,840 --> 00:09:36,200 Speaker 2: going to make Me Love Somebody Else by the Jones Girls, 180 00:09:36,640 --> 00:09:40,640 Speaker 2: already pre performing the blend in my brain. It's hard 181 00:09:40,679 --> 00:09:44,280 Speaker 2: to stay present when your mind is constantly pairing tempos 182 00:09:44,320 --> 00:09:46,920 Speaker 2: and keys instead of focusing on the person in front 183 00:09:46,920 --> 00:09:50,000 Speaker 2: of you. But there was no off switch short of 184 00:09:50,000 --> 00:09:52,600 Speaker 2: a lobotomy. 185 00:09:52,960 --> 00:09:57,280 Speaker 1: Well, we talked both about our work and talking about 186 00:09:57,280 --> 00:09:59,600 Speaker 1: how you prepare, But do you have a kind of 187 00:09:59,640 --> 00:10:02,280 Speaker 1: way that you want to eat before you go on stage. 188 00:10:02,440 --> 00:10:05,520 Speaker 2: I have to eat really light because the nerves and 189 00:10:05,559 --> 00:10:08,439 Speaker 2: the crazy like my stomach even before. It doesn't matter 190 00:10:08,440 --> 00:10:11,280 Speaker 2: if I'm playing to like three hundred kids in a basement, 191 00:10:11,400 --> 00:10:15,199 Speaker 2: if I'm playing ten thousand people on a festival stage, 192 00:10:16,360 --> 00:10:20,679 Speaker 2: there's just like yeah, I just my stomach goes into 193 00:10:21,120 --> 00:10:25,439 Speaker 2: doing cartwheels. And I remember reading this famous Bowie quote 194 00:10:25,520 --> 00:10:27,200 Speaker 2: or something like it was like, I don't trust anyone 195 00:10:27,200 --> 00:10:29,719 Speaker 2: that doesn't get nervous before they go on stage. It 196 00:10:30,040 --> 00:10:33,360 Speaker 2: might not be the case for anybody, but that quote 197 00:10:33,760 --> 00:10:36,880 Speaker 2: certainly made me feel better this much closer to Bowie. 198 00:10:39,720 --> 00:10:42,560 Speaker 2: There's something about the adrenaline and what's going on in 199 00:10:42,559 --> 00:10:45,839 Speaker 2: the system. As I'm DJing, I can I mean, I 200 00:10:45,880 --> 00:10:48,440 Speaker 2: don't do this anymore. But I could not back six 201 00:10:48,520 --> 00:10:52,559 Speaker 2: drinks and not feel anything. But the minute the music stops, 202 00:10:52,920 --> 00:10:57,600 Speaker 2: I'm suddenly like whoa. And I remember I dj Tom 203 00:10:57,679 --> 00:11:02,880 Speaker 2: Cruise in Katie Holmes's wedding and it was going really well. 204 00:11:02,880 --> 00:11:06,120 Speaker 2: It was like a great gig. I was doing all 205 00:11:06,120 --> 00:11:08,600 Speaker 2: these mixes of like the top Gun theme with like 206 00:11:08,640 --> 00:11:11,839 Speaker 2: these hip hop break beats, and Tom's like shooting the 207 00:11:11,920 --> 00:11:14,600 Speaker 2: fingers at me and everyone's out on the dance floor 208 00:11:15,679 --> 00:11:18,920 Speaker 2: and I was knocking back like drinks, totally fine. And 209 00:11:18,960 --> 00:11:22,200 Speaker 2: then as soon as the gig stopped and we got 210 00:11:22,240 --> 00:11:24,520 Speaker 2: in the car to drive with somewhere in the Italian countryside, 211 00:11:24,520 --> 00:11:26,360 Speaker 2: I was just like, wholl pull over and then I 212 00:11:26,480 --> 00:11:30,800 Speaker 2: just delivered a pavement pizza to the Italian countryside. But 213 00:11:30,840 --> 00:11:34,559 Speaker 2: there's something about the adrenaline and thing. But yeah, I 214 00:11:34,640 --> 00:11:34,960 Speaker 2: have to. 215 00:11:35,679 --> 00:11:38,000 Speaker 1: Eat a lot of actors do a performance and then 216 00:11:38,240 --> 00:11:40,440 Speaker 1: meet you for the theater afterwards, Right, they want to 217 00:11:40,480 --> 00:11:41,840 Speaker 1: go out or something. 218 00:11:41,920 --> 00:11:43,880 Speaker 2: Yeah, I know, and I talk about it a lot 219 00:11:43,880 --> 00:11:48,600 Speaker 2: in the book. As the DJ, you end your set 220 00:11:49,600 --> 00:11:52,480 Speaker 2: at like three or four in the morning, and you've 221 00:11:52,559 --> 00:11:56,280 Speaker 2: just for four or five hours been in this room 222 00:11:56,320 --> 00:11:58,680 Speaker 2: of like pure reverie and like you've been part of 223 00:11:58,679 --> 00:12:02,000 Speaker 2: the reason for the ringleader. People are like and that 224 00:12:02,240 --> 00:12:04,640 Speaker 2: energy is contagious. And then you have the ego stroke 225 00:12:04,720 --> 00:12:06,720 Speaker 2: of like, look what I'm doing all these people And 226 00:12:06,760 --> 00:12:09,640 Speaker 2: then four o'clock the lights come on and the room 227 00:12:09,720 --> 00:12:11,880 Speaker 2: is not packed. At four o'clock in the morning, there's 228 00:12:11,880 --> 00:12:14,360 Speaker 2: the last seventeen people in there. You're like, well, wait, 229 00:12:14,400 --> 00:12:18,200 Speaker 2: where's my fun? Yeah. And so back in those days 230 00:12:18,280 --> 00:12:21,920 Speaker 2: in the nineties, I would be leaving the club at 231 00:12:22,240 --> 00:12:25,760 Speaker 2: four and I'd be maybe calling the coke dealer on 232 00:12:25,800 --> 00:12:27,760 Speaker 2: the way out, like you're like, hey, why am I 233 00:12:27,960 --> 00:12:30,600 Speaker 2: coming up? And now when I come out of the club, 234 00:12:31,240 --> 00:12:35,480 Speaker 2: I'm like online making an appointment for my acupunctures for 235 00:12:35,640 --> 00:12:38,320 Speaker 2: the next morning because my back is killing me. 236 00:12:38,800 --> 00:12:41,120 Speaker 1: You mention your back a lot. That does so tell 237 00:12:41,120 --> 00:12:42,240 Speaker 1: me the effect of the back. 238 00:12:43,080 --> 00:12:48,520 Speaker 2: It's just this it's just thirty years of standing up 239 00:12:48,640 --> 00:12:52,960 Speaker 2: for five six hours on end because of the DJ stance, 240 00:12:52,960 --> 00:12:55,800 Speaker 2: which is the headphones on with the next slightly crooked 241 00:12:55,840 --> 00:12:57,400 Speaker 2: to the left of the right when you're doing it. 242 00:12:57,480 --> 00:13:00,560 Speaker 2: And five years ago, my foot's all up to the 243 00:13:00,559 --> 00:13:03,200 Speaker 2: size of a basketball. And I went to the doctor 244 00:13:03,480 --> 00:13:05,720 Speaker 2: and he looks at me and he's like, yeah, I 245 00:13:05,720 --> 00:13:07,960 Speaker 2: looked at some of your videos online of you performing 246 00:13:08,000 --> 00:13:09,560 Speaker 2: on the way because I just wanted to see if 247 00:13:09,559 --> 00:13:11,400 Speaker 2: there are any clues. And he's like, and I noticed 248 00:13:11,400 --> 00:13:13,959 Speaker 2: that you tap your foot like this through the whole 249 00:13:14,000 --> 00:13:16,280 Speaker 2: set to the beat. I was like, yeah, everybody does that. 250 00:13:16,320 --> 00:13:21,319 Speaker 2: He goes, well, you now have this early onset arthritis cinevitis. 251 00:13:21,360 --> 00:13:24,920 Speaker 2: A lot of musicians, even orchestral players like in the 252 00:13:24,960 --> 00:13:27,440 Speaker 2: Philharmonic and everything, get it because they're lightly tapping. But 253 00:13:27,480 --> 00:13:31,720 Speaker 2: you do that for forty years. So I call it 254 00:13:31,840 --> 00:13:35,120 Speaker 2: DJ foot, like I just named it for myself, but 255 00:13:35,200 --> 00:13:38,520 Speaker 2: obviously it's but yeah, there's all these back issues. I 256 00:13:38,559 --> 00:13:43,080 Speaker 2: have sort of terrible tinetus. It reminds me sometimes of 257 00:13:43,440 --> 00:13:47,600 Speaker 2: did you read Kitchen Confidential Anthony Boydeen. Yes, that's one 258 00:13:47,640 --> 00:13:50,600 Speaker 2: of my favorite books ever. And that thing when he's 259 00:13:50,760 --> 00:13:53,120 Speaker 2: in the end when he's just listing off all the 260 00:13:53,160 --> 00:13:55,320 Speaker 2: things that you would know, the afflictions of being a chef, 261 00:13:55,400 --> 00:13:58,320 Speaker 2: the burns that all the wear and tear and stuff, 262 00:13:58,320 --> 00:14:00,960 Speaker 2: and I was like, it's not near that level for 263 00:14:00,960 --> 00:14:03,360 Speaker 2: a DJ. Let's be honest. You don't have like scars 264 00:14:03,400 --> 00:14:06,680 Speaker 2: and stitches everywhere, but it does have its own sort 265 00:14:06,720 --> 00:14:09,400 Speaker 2: of like list of you know, complaints. 266 00:14:09,960 --> 00:14:13,680 Speaker 1: Let's talk about when you were growing up in North London. Yeah, 267 00:14:13,880 --> 00:14:16,120 Speaker 1: what was it like in the house because your parents 268 00:14:16,160 --> 00:14:19,800 Speaker 1: had parties and they had you described these amazing kind 269 00:14:19,800 --> 00:14:22,200 Speaker 1: of open house where people came and there were there 270 00:14:22,240 --> 00:14:25,080 Speaker 1: was noise and as a child, but would you sit 271 00:14:25,240 --> 00:14:28,240 Speaker 1: down to dinner night as a family and talk about 272 00:14:28,240 --> 00:14:29,160 Speaker 1: what you did at school? 273 00:14:29,280 --> 00:14:34,480 Speaker 2: Or I remember Friday night dinners are my Grandma? Okay, 274 00:14:34,520 --> 00:14:39,440 Speaker 2: so that like I just remember from an early age 275 00:14:39,600 --> 00:14:42,600 Speaker 2: being like Grandma makes great marksible. So that's kind of 276 00:14:42,640 --> 00:14:44,280 Speaker 2: like just old Jewish kids, right. 277 00:14:44,400 --> 00:14:47,840 Speaker 1: Did you do that every Friday? 278 00:14:47,920 --> 00:14:49,280 Speaker 2: It was a lot of a lot of. 279 00:14:49,520 --> 00:14:52,680 Speaker 1: Jewish families always describe it as that was the one 280 00:14:53,200 --> 00:14:57,280 Speaker 1: constant that you could even go and then go out late. 281 00:14:57,360 --> 00:14:58,880 Speaker 1: But you had to go. 282 00:14:59,320 --> 00:15:01,560 Speaker 2: Yeah, there was there's no way my dad was getting 283 00:15:01,600 --> 00:15:04,000 Speaker 2: out of like no matter what was going on, what 284 00:15:04,040 --> 00:15:06,520 Speaker 2: my parents were doing, like it was like you were 285 00:15:06,560 --> 00:15:09,440 Speaker 2: he had to be there, which a month. Yeah, my 286 00:15:09,520 --> 00:15:13,120 Speaker 2: mom would go too when they split, and then we 287 00:15:13,160 --> 00:15:16,080 Speaker 2: moved to New York when I was eight because my 288 00:15:16,120 --> 00:15:18,640 Speaker 2: mom married my stepdad. There was still a lot of 289 00:15:18,680 --> 00:15:21,960 Speaker 2: partying and revelry in the house, but they had another 290 00:15:22,000 --> 00:15:27,120 Speaker 2: two kids and there was more structure and dinners. My 291 00:15:27,240 --> 00:15:31,640 Speaker 2: mom she grew up in a household of five children. 292 00:15:31,680 --> 00:15:34,120 Speaker 2: She was the second oldest, and her mom died when 293 00:15:34,160 --> 00:15:38,200 Speaker 2: she was eleven, so a lot of like what would 294 00:15:38,200 --> 00:15:41,440 Speaker 2: have been like taking care of like the younger siblings 295 00:15:41,480 --> 00:15:43,840 Speaker 2: and the cooking and that stuff fell on her. So 296 00:15:43,880 --> 00:15:46,520 Speaker 2: she would just make I think, like giant batches of 297 00:15:46,600 --> 00:15:50,440 Speaker 2: like macaroni and cheese and whatever. She came up cooking 298 00:15:50,480 --> 00:15:52,960 Speaker 2: in bulk, you know, like that was the lesson. So 299 00:15:53,720 --> 00:15:56,240 Speaker 2: with five kids as well, it was like it was 300 00:15:56,280 --> 00:15:58,240 Speaker 2: a lot of there was so many cast roles in 301 00:15:58,280 --> 00:16:01,440 Speaker 2: the freezer, like it was crazy, like and as kids 302 00:16:01,440 --> 00:16:05,360 Speaker 2: we were just like it really was like castrole again, 303 00:16:05,480 --> 00:16:06,920 Speaker 2: like it was it was that. 304 00:16:07,520 --> 00:16:09,160 Speaker 1: So it must have taken quite a lot. She had 305 00:16:09,200 --> 00:16:11,960 Speaker 1: five kids, Yeah, in a house in New York and 306 00:16:12,040 --> 00:16:14,320 Speaker 1: we were all in school. Yeah, and then she was 307 00:16:14,360 --> 00:16:18,400 Speaker 1: still they were having this musical, partying life. Yeah, what 308 00:16:18,520 --> 00:16:19,400 Speaker 1: was it like for you? 309 00:16:19,760 --> 00:16:21,600 Speaker 2: I think it was a great place to grow up. 310 00:16:21,600 --> 00:16:23,760 Speaker 2: You know. My stepdad was a musician. He had a 311 00:16:23,800 --> 00:16:26,880 Speaker 2: recording shootio on the home. I would use all his equipment. 312 00:16:27,560 --> 00:16:29,200 Speaker 2: Some nights had wake up in the middle of the 313 00:16:29,280 --> 00:16:32,720 Speaker 2: night and like John Taylor from Durandur and my absolute 314 00:16:32,760 --> 00:16:35,560 Speaker 2: heroes like hanging out in the thing and they were 315 00:16:35,600 --> 00:16:40,120 Speaker 2: all partying. And my mother was quite strict because she 316 00:16:40,240 --> 00:16:43,080 Speaker 2: came from England, so coming to New York, that level 317 00:16:43,120 --> 00:16:46,000 Speaker 2: of parenting and English parenting is much more intense. Like 318 00:16:46,520 --> 00:16:49,800 Speaker 2: our curfews were like three hours earlier than everybody else's. 319 00:16:49,800 --> 00:16:53,800 Speaker 2: But as long as we did our homework and we 320 00:16:53,800 --> 00:16:57,480 Speaker 2: did well in school, she was definitely like I played 321 00:16:57,480 --> 00:16:58,960 Speaker 2: in a band. She's like, you can go out play 322 00:16:58,960 --> 00:17:01,560 Speaker 2: in a band. I wanted to go to shows. She 323 00:17:01,560 --> 00:17:04,159 Speaker 2: wouldn't let me go to shows at first, so I 324 00:17:04,200 --> 00:17:08,560 Speaker 2: got a job writing for the school paper reviewing the show. 325 00:17:08,600 --> 00:17:12,080 Speaker 2: So then she was like, okay, just concerts, just like 326 00:17:12,119 --> 00:17:16,080 Speaker 2: wanting to go see whatever bands and indie bands and 327 00:17:16,200 --> 00:17:19,200 Speaker 2: things that I loved when I was fourteen and fifteen, 328 00:17:19,280 --> 00:17:22,280 Speaker 2: so by having a position at the school paper then 329 00:17:22,280 --> 00:17:24,040 Speaker 2: she was like, okay, well if you're writing about it, 330 00:17:24,080 --> 00:17:32,560 Speaker 2: if it's worked, you can go. Do you remember restaurants, Yes, 331 00:17:32,720 --> 00:17:35,280 Speaker 2: I remember there was some. There were a few restaurants 332 00:17:35,280 --> 00:17:38,720 Speaker 2: that were really like marked special occasions, you know, yeah, 333 00:17:38,840 --> 00:17:41,120 Speaker 2: special special occasions. It was like most of the time 334 00:17:41,160 --> 00:17:45,520 Speaker 2: waiting home. But there was Gino's on sixty first in 335 00:17:45,600 --> 00:17:48,080 Speaker 2: Lexington and it's like a very classic thing and it 336 00:17:48,840 --> 00:17:53,120 Speaker 2: had been around since the thirties and no Frank Snatcher 337 00:17:53,240 --> 00:17:54,960 Speaker 2: was the only person who was allowed to make a 338 00:17:55,000 --> 00:17:59,760 Speaker 2: reservation there, like a classic old school Upper east Side. 339 00:18:00,640 --> 00:18:02,680 Speaker 2: It was really sad when it closed. It closed about 340 00:18:02,800 --> 00:18:05,960 Speaker 2: fifteen years ago. But they did this amazing thing where 341 00:18:06,160 --> 00:18:08,719 Speaker 2: once a year they would do this thing where they 342 00:18:08,720 --> 00:18:11,600 Speaker 2: would go back to the prices of when the menu 343 00:18:11,800 --> 00:18:15,040 Speaker 2: first opened and it would be like two dollars for 344 00:18:15,040 --> 00:18:17,719 Speaker 2: a plate of the whatever, the val milanaise, And there 345 00:18:17,720 --> 00:18:20,639 Speaker 2: would be a line around the block on those nights. 346 00:18:20,640 --> 00:18:23,679 Speaker 2: And that was I remember as a kid, especially you 347 00:18:23,680 --> 00:18:28,000 Speaker 2: go into place here, there's Zebra's on the wallpaper and they, 348 00:18:29,119 --> 00:18:32,159 Speaker 2: you know, the waiters are just so Italian and like 349 00:18:32,240 --> 00:18:34,680 Speaker 2: from the old country. It was that was I think 350 00:18:34,680 --> 00:18:36,560 Speaker 2: that was my favorite place as a kid, and. 351 00:18:36,560 --> 00:18:39,840 Speaker 1: They would take all five of you. Would you was 352 00:18:39,880 --> 00:18:40,359 Speaker 1: that a stone? 353 00:18:40,400 --> 00:18:43,560 Speaker 2: Sometimes that's a lot. Yeah. I remember we went there 354 00:18:43,600 --> 00:18:47,000 Speaker 2: one time after young Kapoor, after having fasted all that, 355 00:18:47,280 --> 00:18:50,720 Speaker 2: and my sister Samantha, just as we got to Gino's 356 00:18:50,760 --> 00:18:53,280 Speaker 2: to break the fast, she just like threw up all 357 00:18:53,320 --> 00:18:55,600 Speaker 2: over the entire table, just like one of those like 358 00:18:55,680 --> 00:19:01,399 Speaker 2: really like like just launching Vomit bounces off the table. 359 00:19:03,160 --> 00:19:05,680 Speaker 2: But they, you know, they brought us a new tablecloth. 360 00:19:05,720 --> 00:19:06,959 Speaker 2: We were regulars. 361 00:19:07,200 --> 00:19:10,240 Speaker 1: We've talked about the way you eat when you're performing, 362 00:19:10,840 --> 00:19:13,880 Speaker 1: there's also the way you eat when you're producing, when 363 00:19:13,880 --> 00:19:16,680 Speaker 1: you are to take a break and say, let's we've 364 00:19:16,720 --> 00:19:19,560 Speaker 1: been working all morning, Let's go and spend a couple 365 00:19:19,600 --> 00:19:21,840 Speaker 1: of hours. Would you like to keep going and have 366 00:19:21,960 --> 00:19:22,879 Speaker 1: a sandwich. 367 00:19:23,600 --> 00:19:26,400 Speaker 2: It's it's all of those things. It's all those things, 368 00:19:26,440 --> 00:19:29,359 Speaker 2: because it's like sometimes like it's great, like you you 369 00:19:29,440 --> 00:19:31,399 Speaker 2: have a great session, or maybe you've gone like a 370 00:19:31,440 --> 00:19:35,080 Speaker 2: whole week, you know, and then it's like Friday night, 371 00:19:35,160 --> 00:19:39,439 Speaker 2: let's got somewhere lovely, Like I've been working with du 372 00:19:39,480 --> 00:19:41,480 Speaker 2: Aliba quite a bit in New York, and she loves 373 00:19:41,480 --> 00:19:43,879 Speaker 2: to go, like she doesn't live in New York, so 374 00:19:43,920 --> 00:19:45,879 Speaker 2: she wants to go to Estella and all her like 375 00:19:45,960 --> 00:19:48,120 Speaker 2: favorite places and. 376 00:19:47,560 --> 00:19:48,440 Speaker 1: She loves to eat. 377 00:19:48,640 --> 00:19:50,560 Speaker 2: Yeah, she's a good you know. 378 00:19:50,640 --> 00:19:53,560 Speaker 1: She and Callum met in the River Cafe and it's 379 00:19:53,600 --> 00:19:55,359 Speaker 1: so nice that they met over food. 380 00:19:55,520 --> 00:19:56,520 Speaker 2: Yeah, how did you meet? 381 00:19:56,600 --> 00:19:58,040 Speaker 1: How did you meet your wife? 382 00:19:58,200 --> 00:19:58,480 Speaker 3: Grace? 383 00:19:58,720 --> 00:20:04,400 Speaker 2: I met Grace. I saw Grace across the room at 384 00:20:04,400 --> 00:20:07,480 Speaker 2: a party and I was down in Mexico City to 385 00:20:07,600 --> 00:20:11,480 Speaker 2: DJF Festival, and I saw her across the room with 386 00:20:11,560 --> 00:20:15,439 Speaker 2: her like like shock of like red hair, and she 387 00:20:15,520 --> 00:20:18,520 Speaker 2: looks so chic. She's wearing some like flowy like silk 388 00:20:19,000 --> 00:20:23,239 Speaker 2: pajama suit or something, and I remember looking at her 389 00:20:23,280 --> 00:20:26,399 Speaker 2: and then intentionally like in this very immature like school 390 00:20:26,480 --> 00:20:28,400 Speaker 2: yard way, like not looking at I'm like, well, I'm 391 00:20:28,400 --> 00:20:30,880 Speaker 2: not going to look, because you know this kind of thing, 392 00:20:30,920 --> 00:20:33,040 Speaker 2: but then inventing this whole thing like oh, I'm sure 393 00:20:33,080 --> 00:20:35,320 Speaker 2: she's seen me looking and I'm really not going to look, 394 00:20:35,320 --> 00:20:37,880 Speaker 2: and whatever it is. And then I when I met 395 00:20:37,920 --> 00:20:40,520 Speaker 2: her properly, we had a brief hello that someone in 396 00:20:40,640 --> 00:20:45,000 Speaker 2: choosed to shook hands and two three years ago later. Sorry, 397 00:20:45,119 --> 00:20:49,320 Speaker 2: When we finally had our first real date, I was like, yeah, 398 00:20:49,320 --> 00:20:51,600 Speaker 2: I remember that night in Mexico City, and she just 399 00:20:51,640 --> 00:20:54,119 Speaker 2: looked at me so blank. She's like, I didn't know 400 00:20:54,160 --> 00:20:56,199 Speaker 2: that you were in Mexico City that night, so like 401 00:20:56,280 --> 00:21:00,760 Speaker 2: my whole thing. She was like, but I do remember. 402 00:21:00,800 --> 00:21:03,320 Speaker 2: So we were introduced by my friend Leaki Lee, the 403 00:21:03,400 --> 00:21:06,080 Speaker 2: singer I made a lot of music with. She was 404 00:21:06,080 --> 00:21:08,520 Speaker 2: playing match maker, and I remember one of the first 405 00:21:08,520 --> 00:21:11,560 Speaker 2: things that she said about Grace, like she meant as 406 00:21:11,600 --> 00:21:14,960 Speaker 2: the highest compliment, was like she Grace is just the best. 407 00:21:15,000 --> 00:21:17,600 Speaker 2: She's not like all these other girls. She eats everything. 408 00:21:18,480 --> 00:21:20,679 Speaker 2: That was like the first thing that just meant like, 409 00:21:21,400 --> 00:21:25,800 Speaker 2: she's like not fussy. Whatever. We had our we had 410 00:21:25,800 --> 00:21:30,920 Speaker 2: our first day, our whole our whole courtship with food 411 00:21:30,960 --> 00:21:33,560 Speaker 2: and dating and all of it, you know. And then 412 00:21:34,359 --> 00:21:39,399 Speaker 2: I remember cooking for her like the second or third time. Yes, 413 00:21:40,680 --> 00:21:44,880 Speaker 2: I could do a salmon with a mustard glaze, because 414 00:21:44,920 --> 00:21:49,480 Speaker 2: I'm just like so useless at improvising, Like that's good, 415 00:21:49,600 --> 00:21:52,840 Speaker 2: but I'm very good at following directions to a tea, 416 00:21:53,080 --> 00:21:54,639 Speaker 2: So I mean, I'm not going to be able to 417 00:21:54,640 --> 00:21:57,720 Speaker 2: make a soup fla, but I could do salmon glaze 418 00:21:57,760 --> 00:22:00,720 Speaker 2: or something so and I remember being so terrified of, 419 00:22:00,800 --> 00:22:03,000 Speaker 2: you know, over cooking and you know, keep taking the 420 00:22:03,040 --> 00:22:07,439 Speaker 2: seminar every twenty seconds to poke it. And then she's 421 00:22:07,480 --> 00:22:10,960 Speaker 2: a great cook, but she's much more improv I can 422 00:22:11,119 --> 00:22:15,440 Speaker 2: just pull a few things, what from the cupboards. It's 423 00:22:15,480 --> 00:22:17,359 Speaker 2: like that's the difference in the two of us. She's 424 00:22:17,440 --> 00:22:21,520 Speaker 2: just so free flowing and like wonderful and just in 425 00:22:21,560 --> 00:22:24,639 Speaker 2: that sort of way. And I'm quite a virgo and 426 00:22:24,760 --> 00:22:28,239 Speaker 2: up tied, so I'm not an incredible cook. But what 427 00:22:28,320 --> 00:22:30,800 Speaker 2: I've found in our relationship, like I have three or 428 00:22:30,800 --> 00:22:33,399 Speaker 2: four go to dishes that Grace really loves and like 429 00:22:33,480 --> 00:22:36,080 Speaker 2: that's what are they do? You know? So there's like 430 00:22:36,160 --> 00:22:38,520 Speaker 2: a a chicken curry. 431 00:22:38,720 --> 00:22:40,360 Speaker 1: Did you learn to make that in England? 432 00:22:40,760 --> 00:22:43,680 Speaker 2: I actually learned to make it from a New York 433 00:22:43,720 --> 00:22:46,679 Speaker 2: Times recipe, you know, just like and it takes so 434 00:22:46,760 --> 00:22:49,119 Speaker 2: long to prepare the sauce because then making up and 435 00:22:49,160 --> 00:22:51,800 Speaker 2: scratch and the purring and the apples with spices. But 436 00:22:52,280 --> 00:22:55,120 Speaker 2: there's a it's kind of like making it a track. 437 00:22:55,200 --> 00:22:58,840 Speaker 2: There's things, there's there's there's an order to it and 438 00:22:58,880 --> 00:23:00,879 Speaker 2: a sequence that you have to follow, but it's so 439 00:23:01,840 --> 00:23:02,880 Speaker 2: rewarding as well. 440 00:23:03,160 --> 00:23:08,639 Speaker 1: And I say that food is believes hunger. Of course, 441 00:23:08,800 --> 00:23:13,000 Speaker 1: food is also a way of sharing and food expresses 442 00:23:13,040 --> 00:23:16,600 Speaker 1: love and food is you know, going out to restaurants 443 00:23:16,600 --> 00:23:20,680 Speaker 1: and having fun words. But it is also comfort. Yeah, 444 00:23:20,800 --> 00:23:23,879 Speaker 1: and so is there a sense that you seek some 445 00:23:24,000 --> 00:23:24,920 Speaker 1: food for comfort. 446 00:23:25,200 --> 00:23:29,879 Speaker 2: Yeah, my comfort food. It's not the most original idea 447 00:23:29,920 --> 00:23:32,639 Speaker 2: in the world, but my comfort food is my brain 448 00:23:32,760 --> 00:23:37,800 Speaker 2: just goes to pasta always. That's what I dream about 449 00:23:37,800 --> 00:23:41,280 Speaker 2: when I close my eyes. And also there's something about 450 00:23:41,280 --> 00:23:44,320 Speaker 2: it's just so fulfilling. I mean even just the way 451 00:23:44,359 --> 00:23:48,080 Speaker 2: that like I mean even the physiology, right, it like 452 00:23:48,600 --> 00:23:51,719 Speaker 2: expands in or something. There's something you are full you 453 00:23:51,720 --> 00:23:56,320 Speaker 2: were full of I don't know. Yeah, So that's that's 454 00:23:56,359 --> 00:24:00,719 Speaker 2: always my comfort that Alio Alio, peperoncino. It's just like 455 00:24:00,840 --> 00:24:04,600 Speaker 2: one of my favorites. I did make that, I did 456 00:24:04,680 --> 00:24:06,199 Speaker 2: start to make that. That was one of like the 457 00:24:06,320 --> 00:24:09,320 Speaker 2: second or third things I made for Grace when she 458 00:24:09,440 --> 00:24:13,080 Speaker 2: came over. I think I got the pepper ratio wrong 459 00:24:13,200 --> 00:24:15,399 Speaker 2: or something, and I just remember like her like like 460 00:24:15,520 --> 00:24:17,600 Speaker 2: steam coming out of her ears and her like not 461 00:24:17,720 --> 00:24:20,040 Speaker 2: in trying to be like It's like there's a lot 462 00:24:20,040 --> 00:24:21,320 Speaker 2: of pepper in this one. 463 00:24:21,840 --> 00:24:24,240 Speaker 1: Now that I came on stage while you were working, 464 00:24:24,280 --> 00:24:26,520 Speaker 1: maybe you'll come on my stage and come into the 465 00:24:26,600 --> 00:24:28,800 Speaker 1: River ca. Yeah, come in the kitchen and we'll do 466 00:24:28,880 --> 00:24:29,800 Speaker 1: some cooking together. 467 00:24:29,920 --> 00:24:32,480 Speaker 2: How about that? Is that for real? 468 00:24:32,560 --> 00:24:37,240 Speaker 1: I would love to real come to the raves and yeah, 469 00:24:37,359 --> 00:24:38,200 Speaker 1: that would be together. 470 00:24:38,840 --> 00:24:40,320 Speaker 2: Maybe a rave in the River Cafe. 471 00:24:40,760 --> 00:24:44,040 Speaker 1: That's the best combination. River rave, Yeah, River Rave, Let's 472 00:24:44,080 --> 00:24:44,480 Speaker 1: do it. 473 00:24:51,119 --> 00:24:54,160 Speaker 3: Ruthie's Table four is hosted by Ruthie Rogers and produced 474 00:24:54,160 --> 00:24:57,359 Speaker 3: by Alex Bell and Zad Rodgers with Andrew Saran, Bella 475 00:24:57,440 --> 00:25:01,080 Speaker 3: Selini and Susannah. This has be and then asimized production 476 00:25:01,200 --> 00:25:07,399 Speaker 3: for iHeartMedia. 477 00:25:09,480 --> 00:25:12,680 Speaker 4: Hi, It's Ruthie Rogers and I'm so excited to announce 478 00:25:12,720 --> 00:25:16,560 Speaker 4: that we have a new book. Squeeze Me has forty 479 00:25:16,600 --> 00:25:21,000 Speaker 4: seven delicious lemon recipes from the River Cafe, Beautiful art 480 00:25:21,119 --> 00:25:24,159 Speaker 4: by Ed Bouchet and words by Heather Eyes. 481 00:25:24,560 --> 00:25:27,880 Speaker 2: Pre Order now. 482 00:25:28,880 --> 00:25:32,880 Speaker 1: Ruthie's Table four in collaboration with Me and m Intelligence 483 00:25:32,920 --> 00:25:34,200 Speaker 1: Style for Busy Women