1 00:00:06,080 --> 00:00:07,160 Speaker 1: Hey, it's Steve Baldton. 2 00:00:07,240 --> 00:00:09,240 Speaker 2: Welcome back to the Best of twenty twenty five. 3 00:00:09,840 --> 00:00:12,880 Speaker 1: And today it does not get much cooler than Mark Bronson. 4 00:00:13,320 --> 00:00:16,079 Speaker 2: I mean, the guy who produced Davey Weinehouse. He's worked 5 00:00:16,120 --> 00:00:19,599 Speaker 2: with Bruno Marris, who's worked with everyone, and it's just 6 00:00:19,640 --> 00:00:21,960 Speaker 2: one of the coolest people in the world is here 7 00:00:22,000 --> 00:00:25,760 Speaker 2: talking about his book Night People, all about pinga DJ 8 00:00:25,920 --> 00:00:28,880 Speaker 2: in the nineties, about the music that shaped his life, 9 00:00:29,120 --> 00:00:31,840 Speaker 2: about living in New York then, and what it was 10 00:00:31,880 --> 00:00:33,800 Speaker 2: like revisiting that time for the book. 11 00:00:34,120 --> 00:00:35,879 Speaker 1: So I hope you enjoyed this one as much as 12 00:00:35,920 --> 00:00:52,840 Speaker 1: we did. The last time I saw you was ranted. 13 00:00:52,880 --> 00:00:54,720 Speaker 1: Do you at that Chatel a couple of years ago. 14 00:00:54,960 --> 00:00:56,560 Speaker 1: I was there with Peter katz Is and a group 15 00:00:56,600 --> 00:00:58,400 Speaker 1: of people. He came over with the day that we're 16 00:00:58,400 --> 00:01:00,560 Speaker 1: talking to us and we're working on the book. So 17 00:01:01,320 --> 00:01:03,720 Speaker 1: you know, it's nice to see it come to fruition now. 18 00:01:04,160 --> 00:01:06,000 Speaker 1: I think at the time said you were kind of 19 00:01:06,040 --> 00:01:08,720 Speaker 1: taking a little break from music with the baby on 20 00:01:08,760 --> 00:01:14,080 Speaker 1: the way. Yes, well now I have two so weird relations. 21 00:01:14,240 --> 00:01:17,320 Speaker 3: Thank you, thank you. Yeah, I've been working on this book. 22 00:01:18,000 --> 00:01:21,640 Speaker 3: I guess I kind of went back and looked when 23 00:01:21,640 --> 00:01:24,120 Speaker 3: I was first setting my editors some chapters, and I 24 00:01:24,400 --> 00:01:27,119 Speaker 3: noticed it was like March of twenty two. 25 00:01:27,319 --> 00:01:29,880 Speaker 4: So I have been working on this book for quite 26 00:01:29,880 --> 00:01:30,200 Speaker 4: a while. 27 00:01:30,280 --> 00:01:33,200 Speaker 3: I took probably a year out when we were doing 28 00:01:34,040 --> 00:01:36,520 Speaker 3: Barbie and doing the score and the music for that film. 29 00:01:36,560 --> 00:01:39,120 Speaker 3: But really, for the most part, this has been the 30 00:01:39,120 --> 00:01:42,880 Speaker 3: most major undertaking I've had of the last of the 31 00:01:42,959 --> 00:01:45,240 Speaker 3: last three years. And it's like, of course, there were 32 00:01:45,319 --> 00:01:47,360 Speaker 3: times during it, especially towards the end, I was like, 33 00:01:48,240 --> 00:01:50,360 Speaker 3: can I curse on this? Or would you rather I 34 00:01:50,400 --> 00:01:53,480 Speaker 3: didn't curse? I don't have to, Okay, I was like, 35 00:01:53,680 --> 00:01:56,080 Speaker 3: why the hell am I doing? It's like, you know, 36 00:01:56,560 --> 00:01:59,880 Speaker 3: at least when I'm working on music, not every so 37 00:02:00,120 --> 00:02:02,600 Speaker 3: and I think is great ends up being a hit. 38 00:02:02,680 --> 00:02:05,320 Speaker 3: But I can pretty much tell early on like if 39 00:02:05,320 --> 00:02:08,360 Speaker 3: it's time to chuck it in the trash, Whereas this book, 40 00:02:08,440 --> 00:02:10,360 Speaker 3: I had never done anything like it, so I was like, 41 00:02:10,400 --> 00:02:12,639 Speaker 3: what if this isn't any good at this point? 42 00:02:12,760 --> 00:02:14,959 Speaker 4: Now I put in tens. 43 00:02:14,680 --> 00:02:17,680 Speaker 3: Of thousands of hours, but you know, there was a 44 00:02:17,720 --> 00:02:20,520 Speaker 3: reason I had to write it, and now that it's done, 45 00:02:20,560 --> 00:02:25,240 Speaker 3: I am I'm really I'm psyched about it, and that's it. 46 00:02:26,040 --> 00:02:28,520 Speaker 1: No, it's very cool. But it's so funny you say that. So, 47 00:02:29,200 --> 00:02:31,240 Speaker 1: you know, did you ever read Flease memoir? 48 00:02:32,800 --> 00:02:34,519 Speaker 3: I have, Yeah, I haven't read it in a while, 49 00:02:34,520 --> 00:02:35,200 Speaker 3: but it's great. 50 00:02:35,720 --> 00:02:37,160 Speaker 1: Well, you know, it's funny because he and I have 51 00:02:37,200 --> 00:02:40,320 Speaker 1: become friends and if you remember that book ends, you know, 52 00:02:40,480 --> 00:02:43,040 Speaker 1: right at the beginning of the Chili Peppers, and he 53 00:02:43,080 --> 00:02:45,320 Speaker 1: always planned to write a second one, And I'm like, dude, 54 00:02:45,360 --> 00:02:46,640 Speaker 1: are you still going to write a second one? And 55 00:02:46,680 --> 00:02:49,320 Speaker 1: He's like, I have no fucking clue. A book is 56 00:02:49,360 --> 00:02:53,120 Speaker 1: such a different undertaking. It's like, you know, it's like 57 00:02:53,200 --> 00:02:55,920 Speaker 1: making I guess I supposed the equivalent will be a 58 00:02:55,919 --> 00:02:57,239 Speaker 1: box set. 59 00:02:58,280 --> 00:03:00,720 Speaker 3: I don't know, because I don't know if anyone ever 60 00:03:00,760 --> 00:03:03,080 Speaker 3: makes a box set. A box set, it's usually like 61 00:03:03,919 --> 00:03:07,280 Speaker 3: a retrospective of your career, right, Like my favorite box 62 00:03:07,320 --> 00:03:09,360 Speaker 3: set growing up was the Led Zeppelin one, And like, 63 00:03:09,880 --> 00:03:13,160 Speaker 3: I doubt that took Jimmy Page more than like forty 64 00:03:13,240 --> 00:03:15,080 Speaker 3: hours to just like go in and check it. The 65 00:03:15,120 --> 00:03:19,720 Speaker 3: remasters were good, that you know, this is in a 66 00:03:19,760 --> 00:03:24,720 Speaker 3: similar way. My book ends in two thousands, so it's 67 00:03:24,800 --> 00:03:28,880 Speaker 3: before meeting Amy, it's before Bruno, it's before Gaga, all 68 00:03:28,919 --> 00:03:32,359 Speaker 3: these things. That people might genuinely be curious about. Who 69 00:03:32,360 --> 00:03:36,240 Speaker 3: knows those people have millions and millions of fans. But yes, 70 00:03:37,160 --> 00:03:39,560 Speaker 3: one or two people have since then gone like, oh, 71 00:03:39,600 --> 00:03:41,280 Speaker 3: so does that mean there's gonna be a book about 72 00:03:41,320 --> 00:03:44,080 Speaker 3: this thing? And I was like not for twenty years, 73 00:03:44,120 --> 00:03:47,200 Speaker 3: Like this thing just took so much out of me, 74 00:03:47,240 --> 00:03:50,720 Speaker 3: and I loved it, and I you know, I reconnected 75 00:03:50,760 --> 00:03:54,280 Speaker 3: with hundreds of people, interviewing them to really paint the 76 00:03:54,280 --> 00:03:56,520 Speaker 3: most vivid picture of the nineties in the scene, in 77 00:03:56,560 --> 00:04:01,560 Speaker 3: the club life. But it just it was all consuming, 78 00:04:01,840 --> 00:04:04,960 Speaker 3: and yeah, I don't know if I'd go back into 79 00:04:05,000 --> 00:04:05,480 Speaker 3: that again. 80 00:04:06,440 --> 00:04:08,040 Speaker 1: Well, it's interesting you say that I'm gonna, let's say 81 00:04:08,040 --> 00:04:10,040 Speaker 1: it take over in one second. But it's funny because 82 00:04:10,760 --> 00:04:14,080 Speaker 1: you know, it's funny you say it would be twenty years. 83 00:04:14,360 --> 00:04:16,480 Speaker 1: And the reason being is, look, I found we was 84 00:04:16,480 --> 00:04:20,080 Speaker 1: talking with so many artists. You really need perspective. So 85 00:04:20,200 --> 00:04:23,080 Speaker 1: it's interesting that this is now thirty years out, So 86 00:04:23,120 --> 00:04:25,640 Speaker 1: it'd probably take you twenty years to have the understanding 87 00:04:25,680 --> 00:04:28,320 Speaker 1: of what the hell happened with Amy and Gaga and 88 00:04:28,920 --> 00:04:32,400 Speaker 1: just that era of your career. Right now, probably you 89 00:04:32,440 --> 00:04:34,800 Speaker 1: know you still want to have like the distance needed 90 00:04:35,520 --> 00:04:38,800 Speaker 1: I I like looking back at this stuff. Things in 91 00:04:38,839 --> 00:04:41,800 Speaker 1: the nineties changed so much for you looking at it 92 00:04:41,920 --> 00:04:44,720 Speaker 1: now with you know, the perspective of two kids and 93 00:04:44,839 --> 00:04:46,960 Speaker 1: being a Grammy winning producer and all that stuff. 94 00:04:48,279 --> 00:04:49,040 Speaker 4: Yeah, definitely. 95 00:04:49,120 --> 00:04:51,400 Speaker 3: I mean the reason and part of the reason I 96 00:04:51,400 --> 00:04:53,800 Speaker 3: started writing the book when I did, was because I 97 00:04:53,839 --> 00:04:56,920 Speaker 3: started thinking, if I pretty soon these memories are really 98 00:04:57,000 --> 00:04:58,679 Speaker 3: going to start evaporating from my brain. 99 00:04:58,839 --> 00:05:00,280 Speaker 4: So and also so. 100 00:05:00,400 --> 00:05:04,680 Speaker 3: We have such a digital trail of things that we've done. 101 00:05:04,720 --> 00:05:06,760 Speaker 3: Even if you don't keep a diary, you can look 102 00:05:06,800 --> 00:05:10,240 Speaker 3: back at your digital calendar from two thousand and three 103 00:05:10,279 --> 00:05:12,279 Speaker 3: and that's going to have one hundred prompts for you 104 00:05:12,279 --> 00:05:13,040 Speaker 3: to remember stuff. 105 00:05:13,080 --> 00:05:14,600 Speaker 4: I had nothing like that back then. 106 00:05:14,720 --> 00:05:17,680 Speaker 3: So that's why I did dig so deep for these 107 00:05:18,279 --> 00:05:21,480 Speaker 3: a lot of these memories. But yeah, I think that 108 00:05:22,720 --> 00:05:25,760 Speaker 3: to have that perspective on it as a grown manning 109 00:05:25,760 --> 00:05:27,480 Speaker 3: you know, in this book, it's not just about Djay 110 00:05:27,520 --> 00:05:30,560 Speaker 3: in the clouds, it's about you know, my life shot 111 00:05:30,680 --> 00:05:34,440 Speaker 3: that time, and there's addiction and compulsion and things. 112 00:05:34,279 --> 00:05:34,760 Speaker 4: Like that that. 113 00:05:34,839 --> 00:05:38,400 Speaker 3: Yes, I wouldn't have had that perspective on until really recently. 114 00:05:38,920 --> 00:05:44,360 Speaker 3: But yeah, I just just how much this just took 115 00:05:44,440 --> 00:05:45,239 Speaker 3: over my life. 116 00:05:45,640 --> 00:05:48,159 Speaker 4: I don't know if i'd be ready to do that again. 117 00:05:49,880 --> 00:05:53,440 Speaker 5: Yeah, it's amazing how much memory music holds. And I 118 00:05:53,440 --> 00:05:57,560 Speaker 5: imagine looking back on the music that you were making 119 00:05:57,920 --> 00:06:02,279 Speaker 5: and DJing during that time revitalize some memories. And I 120 00:06:02,320 --> 00:06:04,640 Speaker 5: wanted to ask a similar question about how your lens 121 00:06:04,720 --> 00:06:11,720 Speaker 5: now really put the perspective into some of the experiences 122 00:06:11,720 --> 00:06:14,920 Speaker 5: that you had. I'm really excited to read the book. 123 00:06:15,000 --> 00:06:17,440 Speaker 5: You are one of my favorite producers of all time. 124 00:06:17,839 --> 00:06:22,680 Speaker 5: So it's timeless music too. I think when when we 125 00:06:22,720 --> 00:06:26,839 Speaker 5: make really soul full timeless music, it's really a gateway 126 00:06:26,880 --> 00:06:30,719 Speaker 5: into memory and soul. So looking back on the music 127 00:06:30,760 --> 00:06:33,640 Speaker 5: that you were making, did it really did you remember 128 00:06:33,680 --> 00:06:35,960 Speaker 5: these things that had you kind of, you know, pushed 129 00:06:36,000 --> 00:06:38,359 Speaker 5: back into different corners of your mind? 130 00:06:38,839 --> 00:06:40,120 Speaker 4: Yeah, well, I definitely. 131 00:06:42,600 --> 00:06:46,479 Speaker 3: Luckily, music is one of the greatest sort of broaders 132 00:06:46,600 --> 00:06:48,480 Speaker 3: of memory, right, so. 133 00:06:50,160 --> 00:06:50,760 Speaker 4: If there was. 134 00:06:51,680 --> 00:06:54,120 Speaker 3: I kept making these playlists from each year because the 135 00:06:54,160 --> 00:06:56,160 Speaker 3: book is really just the nineties. So I may play 136 00:06:56,160 --> 00:06:59,000 Speaker 3: list for each year for the nineties, and I would 137 00:06:59,000 --> 00:07:01,720 Speaker 3: hear a bus s Rhymes song like put your hands 138 00:07:01,720 --> 00:07:03,560 Speaker 3: where my eyes could see, and suddenly it'd be like, 139 00:07:03,600 --> 00:07:06,680 Speaker 3: oh my god, and I could smell the inside of 140 00:07:06,680 --> 00:07:10,120 Speaker 3: this sweaty club on sixteenth Street called Rebar, because I 141 00:07:10,160 --> 00:07:12,560 Speaker 3: remember when you played that song, how the walls would 142 00:07:12,600 --> 00:07:16,320 Speaker 3: nearly come in. So, and you know, all sorts of 143 00:07:16,440 --> 00:07:21,120 Speaker 3: art spurs memory, but I think that music is a 144 00:07:21,120 --> 00:07:23,720 Speaker 3: bit different because it actually do you feel it in 145 00:07:23,720 --> 00:07:26,480 Speaker 3: your body, like it vibrates you. So I even think that, 146 00:07:26,640 --> 00:07:30,920 Speaker 3: you know, it's even more it's almost more helpful and 147 00:07:31,040 --> 00:07:35,880 Speaker 3: conjuring memories. So I definitely music really helped with that 148 00:07:36,160 --> 00:07:36,960 Speaker 3: for sure. 149 00:07:39,560 --> 00:07:44,200 Speaker 5: When you were finding the vinyl that you know you 150 00:07:44,240 --> 00:07:49,120 Speaker 5: would put together. What was the the through line with 151 00:07:49,720 --> 00:07:53,080 Speaker 5: getting you into your producer brain? Can you talk a 152 00:07:53,080 --> 00:07:56,760 Speaker 5: little bit more about I don't know how that really 153 00:07:56,760 --> 00:08:01,480 Speaker 5: influenced what you did in the studio, how the what 154 00:08:01,520 --> 00:08:04,760 Speaker 5: you've gravitated towards. I mean, you're so eclectic in your 155 00:08:05,680 --> 00:08:10,960 Speaker 5: musical understanding, but those early kind of memories of like 156 00:08:11,000 --> 00:08:12,920 Speaker 5: what was your gateway into. 157 00:08:12,840 --> 00:08:14,760 Speaker 4: Yeah, definitely. 158 00:08:15,080 --> 00:08:18,480 Speaker 3: I mean, you know, when I started off, the book 159 00:08:18,520 --> 00:08:21,880 Speaker 3: starts because each chapter is a different nightclub, and I 160 00:08:22,000 --> 00:08:27,560 Speaker 3: use that as a way to at least keep it whatever, 161 00:08:27,680 --> 00:08:29,520 Speaker 3: keep shit organized, even if it was just for me. 162 00:08:29,680 --> 00:08:32,520 Speaker 3: So and it's chronological, so the book kind of opens 163 00:08:32,520 --> 00:08:35,240 Speaker 3: with these big clubs like Limelight and these raves like Nasa, 164 00:08:35,280 --> 00:08:37,160 Speaker 3: where I was going when I was sixteen, but also 165 00:08:37,240 --> 00:08:41,199 Speaker 3: playing in high school bands. So I was really into 166 00:08:42,240 --> 00:08:45,760 Speaker 3: sort of living color and like early red hot Chili 167 00:08:45,760 --> 00:08:48,120 Speaker 3: peppers in these bands with my band that we played 168 00:08:48,200 --> 00:08:48,760 Speaker 3: music like that. 169 00:08:48,920 --> 00:08:51,960 Speaker 4: And then I heard a few hip. 170 00:08:51,840 --> 00:08:55,920 Speaker 3: Hop records like this album by Pete Rock and sel Smooth, 171 00:08:56,200 --> 00:08:58,080 Speaker 3: and I just fell so much in love with it 172 00:08:58,120 --> 00:09:00,560 Speaker 3: that I was like basically put my guitar down. I 173 00:09:00,600 --> 00:09:02,800 Speaker 3: was like, I want to go do this like now. 174 00:09:02,840 --> 00:09:04,599 Speaker 3: And I didn't know how to rap, I didn't know 175 00:09:04,640 --> 00:09:06,960 Speaker 3: how to make beats, so djang was that was the 176 00:09:07,000 --> 00:09:10,840 Speaker 3: way that I could get into this world. But so 177 00:09:10,960 --> 00:09:13,320 Speaker 3: I really like went from somebody who made music to 178 00:09:13,600 --> 00:09:16,319 Speaker 3: ben Djang just took over my life for like four. 179 00:09:16,200 --> 00:09:17,079 Speaker 4: Or five years. 180 00:09:17,200 --> 00:09:20,040 Speaker 3: I was still experimenting with music and making music through 181 00:09:20,040 --> 00:09:24,600 Speaker 3: the nineties, but for the most part I was I 182 00:09:24,640 --> 00:09:26,640 Speaker 3: was djaying so much. And I think when you're like 183 00:09:27,040 --> 00:09:30,320 Speaker 3: in clubs listening to the music of like Q Tip 184 00:09:30,320 --> 00:09:33,240 Speaker 3: and then Neptunes and Timblin every night till five in 185 00:09:33,280 --> 00:09:35,559 Speaker 3: the morning, to then think that you're going to wake 186 00:09:35,640 --> 00:09:37,839 Speaker 3: up the next morning, far up your drum machine and 187 00:09:37,880 --> 00:09:41,079 Speaker 3: make something original. It's also complicated, you're so influenced by 188 00:09:41,080 --> 00:09:45,720 Speaker 3: these other sounds. But in the late nineties I kind 189 00:09:45,720 --> 00:09:50,360 Speaker 3: of set myself apart because I started playing ac DC 190 00:09:50,880 --> 00:09:54,680 Speaker 3: and led Zeppelin and Jane's Addiction and things in the 191 00:09:54,800 --> 00:09:58,160 Speaker 3: hip hop clubs that nobody was playing. And one night 192 00:09:58,600 --> 00:10:00,600 Speaker 3: this guy came up to me I was DJing. 193 00:10:00,840 --> 00:10:02,720 Speaker 4: He was this really cool guy he's. 194 00:10:02,679 --> 00:10:05,600 Speaker 3: No longer with us, named Dominic Chreaneer, who had a 195 00:10:05,640 --> 00:10:09,200 Speaker 3: label with DiAngelo, and this new artist called Nika Costa, 196 00:10:09,280 --> 00:10:11,959 Speaker 3: and he said he's had this crazy rasp when he 197 00:10:12,000 --> 00:10:14,440 Speaker 3: spoke to Yoh, I got this girl, this white girl, 198 00:10:14,480 --> 00:10:16,679 Speaker 3: and I don't know what a record is supposed to 199 00:10:16,760 --> 00:10:18,400 Speaker 3: sound like, but it's supposed to sound like one of 200 00:10:18,440 --> 00:10:22,760 Speaker 3: your DJ sets ac DC, Biggie EPMD Shaka Khan. So 201 00:10:22,800 --> 00:10:24,440 Speaker 3: I was like, all right, bring it to my crib, 202 00:10:24,520 --> 00:10:28,960 Speaker 3: you know. And that's really how I got my production break. 203 00:10:29,000 --> 00:10:31,800 Speaker 3: I mean, over the course of two years, Nika and Justin, 204 00:10:31,840 --> 00:10:35,440 Speaker 3: her husband, and I worked on this album. But that 205 00:10:35,679 --> 00:10:40,160 Speaker 3: was what set me up. So in some ways, indirectly 206 00:10:40,240 --> 00:10:43,360 Speaker 3: and directly, the way that I dj' and the way 207 00:10:43,360 --> 00:10:45,480 Speaker 3: that I thought about putting music together. Is a DJ 208 00:10:45,640 --> 00:10:48,800 Speaker 3: shape my production career and also got me my first gig. 209 00:10:50,400 --> 00:10:53,640 Speaker 1: That's funny. I love Nica. I remember interviewing her for 210 00:10:53,720 --> 00:10:54,960 Speaker 1: that first record on Virgin. 211 00:10:55,679 --> 00:10:56,280 Speaker 4: Yeah. 212 00:10:56,920 --> 00:10:59,760 Speaker 1: Yeah, I've won her for a long time. Very very 213 00:10:59,840 --> 00:11:02,800 Speaker 1: very cool woman. You know. It's so interesting too, because 214 00:11:03,040 --> 00:11:07,040 Speaker 1: you talk about music prodding memories. But what's interesting the 215 00:11:07,120 --> 00:11:10,240 Speaker 1: memories change because the way you hear the music changes. 216 00:11:10,559 --> 00:11:14,040 Speaker 1: Your experiences are different. There's no question. It's like, you know, 217 00:11:14,040 --> 00:11:16,439 Speaker 1: if you look at Jony doing both sides now as 218 00:11:16,440 --> 00:11:18,280 Speaker 1: a twenty two year old versus the way she did 219 00:11:18,280 --> 00:11:20,840 Speaker 1: it at the Gorge or New Quote BookFest, it's a 220 00:11:20,880 --> 00:11:23,920 Speaker 1: completely fucking different song because here's a woman who's now 221 00:11:23,960 --> 00:11:26,880 Speaker 1: eighty who nearly died. So for you listening and it's like, 222 00:11:27,200 --> 00:11:30,679 Speaker 1: you know, you're talking about Gangstar. I loved Guru love Gangstar. 223 00:11:31,080 --> 00:11:33,559 Speaker 1: You know, of course you remember him now he's not here, 224 00:11:33,640 --> 00:11:36,080 Speaker 1: so you hear it differently. For you, what was some 225 00:11:36,120 --> 00:11:38,040 Speaker 1: of the music that really changed the most and were 226 00:11:38,040 --> 00:11:40,679 Speaker 1: the songs that you were surprised like that you liked 227 00:11:40,679 --> 00:11:43,280 Speaker 1: at the time, but realize now they just take on 228 00:11:43,360 --> 00:11:45,719 Speaker 1: different meaning because the other thing of course I start. 229 00:11:45,760 --> 00:11:47,840 Speaker 1: I was just saying, I used to host a podcast 230 00:11:47,920 --> 00:11:50,600 Speaker 1: on political songs. Right, and you're six years old, you 231 00:11:50,600 --> 00:11:52,360 Speaker 1: hear living in the city or what's going on. You're like, 232 00:11:52,360 --> 00:11:54,679 Speaker 1: this sounds amazing. You have no idea what it's about. 233 00:11:54,920 --> 00:11:56,760 Speaker 1: Then you get to an adult and you realize how 234 00:11:56,800 --> 00:11:58,679 Speaker 1: serious it is. So there are probably a lot of 235 00:11:58,760 --> 00:12:01,400 Speaker 1: songs with that time that now you can look back 236 00:12:01,400 --> 00:12:04,319 Speaker 1: on and realize, Okay, this was much different than I thought. 237 00:12:05,559 --> 00:12:09,760 Speaker 6: Yeah, I think that I was always aware of the political, 238 00:12:11,040 --> 00:12:13,640 Speaker 6: the heavy you know, political message of a lot of 239 00:12:13,679 --> 00:12:15,360 Speaker 6: hip hop, Like that was the thing when I, you know, 240 00:12:15,400 --> 00:12:16,320 Speaker 6: I discovered hip hop. 241 00:12:16,320 --> 00:12:17,760 Speaker 4: I fell in love with Public Enemy. 242 00:12:18,200 --> 00:12:20,080 Speaker 3: And I even write a little bit in the in 243 00:12:20,160 --> 00:12:23,320 Speaker 3: the book about having this like conflictedness, like growing up 244 00:12:23,360 --> 00:12:26,920 Speaker 3: in this sort of traditional Jewish background and then and 245 00:12:27,040 --> 00:12:31,240 Speaker 3: welcome to the Terodome, you know, Chuck Dee says, apologies made. 246 00:12:31,000 --> 00:12:32,040 Speaker 4: To whoever pleases. 247 00:12:32,160 --> 00:12:34,600 Speaker 3: Still they got me, like Jesus, you know, Like, okay, 248 00:12:34,640 --> 00:12:39,120 Speaker 3: I like learning some of that the you know this 249 00:12:39,760 --> 00:12:42,880 Speaker 3: you call it antisemitic, whatever you want to call it. 250 00:12:42,920 --> 00:12:46,200 Speaker 3: There was a thread through some of the more you know, 251 00:12:46,360 --> 00:12:47,640 Speaker 3: far Khan influence hip. 252 00:12:47,520 --> 00:12:50,080 Speaker 4: Hop that I still fucking love because I love the beats. 253 00:12:49,760 --> 00:12:51,800 Speaker 3: And I couldn't stop listening to it, and I wanted 254 00:12:51,840 --> 00:12:52,680 Speaker 3: to play that music. 255 00:12:53,200 --> 00:12:54,280 Speaker 4: You know, this is one. 256 00:12:54,160 --> 00:12:57,760 Speaker 3: Song maybe in the catalog of five hundred and then 257 00:12:58,480 --> 00:13:01,439 Speaker 3: I was also aware that kid coming from from a 258 00:13:01,520 --> 00:13:04,080 Speaker 3: privilege up bringing on the Upper West Side and whatever, like, 259 00:13:04,640 --> 00:13:08,480 Speaker 3: I wasn't ever going to fully get all of what 260 00:13:08,640 --> 00:13:12,079 Speaker 3: hip hop had to offer because that message was speaking 261 00:13:12,080 --> 00:13:14,120 Speaker 3: to someone's struggle that was not me, and I would 262 00:13:14,200 --> 00:13:17,040 Speaker 3: never fully be able to identify it with it. 263 00:13:17,920 --> 00:13:19,400 Speaker 4: But I still loved. 264 00:13:19,200 --> 00:13:21,480 Speaker 3: The music and I still played it, and I was 265 00:13:21,520 --> 00:13:24,520 Speaker 3: accepted in this scene. I think that the way some 266 00:13:24,600 --> 00:13:28,800 Speaker 3: of the music's changed now is really remarkable, because part 267 00:13:28,880 --> 00:13:31,160 Speaker 3: of what's happened in the wake of finishing the book 268 00:13:31,280 --> 00:13:34,120 Speaker 3: is I've just gone back to playing vinyl again, like 269 00:13:34,160 --> 00:13:36,840 Speaker 3: I haven't played vinyl in twenty years. And you know, 270 00:13:36,920 --> 00:13:38,480 Speaker 3: at the end of the book, I talk a little 271 00:13:38,480 --> 00:13:41,240 Speaker 3: bit about the difference between playing digitally and all these things, 272 00:13:41,240 --> 00:13:43,040 Speaker 3: and why I was such a better DJ in the 273 00:13:43,120 --> 00:13:47,280 Speaker 3: nineties because I would spend hours on the floor of 274 00:13:47,280 --> 00:13:49,800 Speaker 3: my apartment putting together my step for the night, because 275 00:13:49,800 --> 00:13:51,640 Speaker 3: I couldn't just rock up to the club with the 276 00:13:51,760 --> 00:13:54,280 Speaker 3: USB or a laptop with ten thousand songs on it. 277 00:13:54,320 --> 00:13:56,360 Speaker 3: You really had to think about what you were bringing. 278 00:13:56,360 --> 00:13:59,200 Speaker 3: And I didn't have kid capri like like how he 279 00:13:59,240 --> 00:14:01,520 Speaker 3: had eight dudes to carry as records of the club. 280 00:14:01,559 --> 00:14:03,680 Speaker 3: It was just me and a friend. So I think 281 00:14:03,679 --> 00:14:07,120 Speaker 3: about how much I was more of a thoughtful DJ 282 00:14:07,240 --> 00:14:11,240 Speaker 3: back then. So now going to the club and with 283 00:14:11,360 --> 00:14:15,600 Speaker 3: records playing, playing for kids that were not alive when 284 00:14:15,640 --> 00:14:17,760 Speaker 3: some of these songs came out, and watching like a 285 00:14:17,800 --> 00:14:21,920 Speaker 3: really great young DJ like Cosmo play this music from 286 00:14:21,960 --> 00:14:24,320 Speaker 3: the same era with her own slant on it. It's 287 00:14:24,360 --> 00:14:28,360 Speaker 3: amazing to see, Yeah, what songs have held up, what 288 00:14:28,440 --> 00:14:32,000 Speaker 3: songs carry the message? What songs are even more meaningful 289 00:14:32,080 --> 00:14:33,440 Speaker 3: maybe now than they were then. 290 00:14:33,960 --> 00:14:36,560 Speaker 4: But that's the beauty of music. 291 00:14:37,240 --> 00:14:39,920 Speaker 3: And it sounds such a cheesy thing to say, but 292 00:14:39,960 --> 00:14:42,920 Speaker 3: it's like to play a song like ninety three till 293 00:14:42,960 --> 00:14:45,880 Speaker 3: Infinity by Souls of Mischief and still to see like 294 00:14:45,960 --> 00:14:51,840 Speaker 3: it emotionally overtake a crowd of people even now. It's 295 00:14:51,960 --> 00:14:55,520 Speaker 3: just like, but it's. 296 00:14:54,720 --> 00:14:56,240 Speaker 4: Part of the joy of why I do it. 297 00:14:58,040 --> 00:15:00,640 Speaker 1: Yeah, it's interesting as well. I mean, for you talk 298 00:15:00,680 --> 00:15:03,400 Speaker 1: about the fact then you know I mean, the other 299 00:15:03,440 --> 00:15:07,040 Speaker 1: thing that I love about writing, right, writing teaches you 300 00:15:07,120 --> 00:15:09,800 Speaker 1: things that you have no idea you're thinking about. Most 301 00:15:09,800 --> 00:15:12,480 Speaker 1: good writing is subconscious well stage and I talk about 302 00:15:12,520 --> 00:15:15,360 Speaker 1: this with songwriters all the time. You know, things will 303 00:15:15,360 --> 00:15:16,880 Speaker 1: come out and like Nick Cave said, a year and 304 00:15:16,880 --> 00:15:18,560 Speaker 1: a half later, he'll be on stage and be like, oh, 305 00:15:18,600 --> 00:15:21,160 Speaker 1: that's what that was about. So I imagine in writing 306 00:15:21,160 --> 00:15:23,680 Speaker 1: this book, there was a ton of stuff that you 307 00:15:23,800 --> 00:15:26,240 Speaker 1: realized that you hadn't thought about in a very long time. 308 00:15:41,480 --> 00:15:46,040 Speaker 3: Yeah, And you know, I didn't really set out to 309 00:15:46,040 --> 00:15:47,960 Speaker 3: write a very personal book. 310 00:15:48,000 --> 00:15:50,040 Speaker 4: I thought I'm going to write out DJs. 311 00:15:49,640 --> 00:15:52,480 Speaker 3: And clubs and of course the books called night People, 312 00:15:52,520 --> 00:15:54,520 Speaker 3: and it touches on why we all go out, and 313 00:15:55,360 --> 00:15:55,720 Speaker 3: for some. 314 00:15:55,680 --> 00:15:56,880 Speaker 4: People it's to get laid. 315 00:15:56,960 --> 00:15:58,880 Speaker 3: Some people love to dance, some people just want to 316 00:15:58,880 --> 00:16:02,360 Speaker 3: commune with people, and some people are just a little 317 00:16:02,440 --> 00:16:05,200 Speaker 3: cracked and would rather live their life at night. 318 00:16:05,320 --> 00:16:07,240 Speaker 4: And like I had all of those things. 319 00:16:07,280 --> 00:16:10,720 Speaker 3: So I realized, you know, at one point, my wife 320 00:16:10,760 --> 00:16:13,160 Speaker 3: said to me at the end when she read the book, like, oh, 321 00:16:13,200 --> 00:16:16,800 Speaker 3: it's it's it's funny because like there was obviously some 322 00:16:16,880 --> 00:16:20,400 Speaker 3: reason that you wrote this very personal, exposing book because 323 00:16:20,400 --> 00:16:23,800 Speaker 3: I had to go into my own you know, demons 324 00:16:23,800 --> 00:16:25,120 Speaker 3: and addictions and things. 325 00:16:24,920 --> 00:16:25,440 Speaker 4: Like that to. 326 00:16:27,400 --> 00:16:30,080 Speaker 3: Paint the whole story. It's it's not it's not the 327 00:16:30,120 --> 00:16:31,760 Speaker 3: majority of the book, but it had to. 328 00:16:31,720 --> 00:16:32,160 Speaker 4: Be in there. 329 00:16:32,240 --> 00:16:37,480 Speaker 3: So I think that, yeah, it was very exposing, you know, 330 00:16:37,640 --> 00:16:42,240 Speaker 3: as a forty I mean, however, I was forty six 331 00:16:42,280 --> 00:16:46,120 Speaker 3: when I started, forty nine when I finished it, as 332 00:16:46,160 --> 00:16:49,400 Speaker 3: somebody who's you know, still obviously figuring it out, but 333 00:16:49,520 --> 00:16:52,200 Speaker 3: been through a couple of years of therapy and recognizes 334 00:16:52,280 --> 00:16:57,280 Speaker 3: some of those compulsions, Like I had to put that 335 00:16:57,440 --> 00:16:59,760 Speaker 3: through that lens or it would have been a little 336 00:17:00,560 --> 00:17:03,120 Speaker 3: boring or not true. And I think that, you know, 337 00:17:03,200 --> 00:17:05,600 Speaker 3: I knew nothing about writing. So when I started writing 338 00:17:05,600 --> 00:17:07,240 Speaker 3: the book, I went into the bookstore and I bought 339 00:17:07,240 --> 00:17:10,480 Speaker 3: Stephen King's On Writing and Mary Carr's The Art of Memoir, 340 00:17:11,240 --> 00:17:14,280 Speaker 3: and I wrote on little note cards the main points 341 00:17:14,320 --> 00:17:16,679 Speaker 3: I took away from those books. For Stephen King, it 342 00:17:16,720 --> 00:17:19,760 Speaker 3: was a lot of like the focus and the austere 343 00:17:20,160 --> 00:17:22,879 Speaker 3: sort of like, you know, five hours a day locked 344 00:17:22,880 --> 00:17:25,080 Speaker 3: in a basement, you got to fucking write right right. 345 00:17:25,520 --> 00:17:28,560 Speaker 3: And Mary Carr was just like one of the things 346 00:17:28,560 --> 00:17:31,120 Speaker 3: that I loved. She says, when you're writing the book, 347 00:17:31,720 --> 00:17:34,520 Speaker 3: be so self aware, like what was it about myself 348 00:17:34,560 --> 00:17:37,760 Speaker 3: that people didn't like about me? Like, kept being so 349 00:17:38,000 --> 00:17:43,800 Speaker 3: honest about those things at all times that I did that, 350 00:17:43,880 --> 00:17:47,040 Speaker 3: I tried to just yeah, just kind of I don't know, 351 00:17:47,840 --> 00:17:49,080 Speaker 3: try and keep that all in mind. 352 00:17:49,720 --> 00:17:51,520 Speaker 1: Well, it's funny, and then let's say check over again 353 00:17:51,600 --> 00:17:53,800 Speaker 1: one second after this, But I'm curious, I mean, did 354 00:17:53,840 --> 00:17:56,159 Speaker 1: you write the book in the linear fashion? Like was 355 00:17:56,200 --> 00:17:58,359 Speaker 1: it written chronologically? Because a lot of times I know 356 00:17:58,440 --> 00:18:01,119 Speaker 1: it's not. And the reason I ask is because again, 357 00:18:01,520 --> 00:18:03,399 Speaker 1: literally it's funny. I don't know if that if it 358 00:18:03,440 --> 00:18:06,760 Speaker 1: was intentional, but a good writing will form itself and 359 00:18:06,840 --> 00:18:09,119 Speaker 1: will take you in places you have no idea you're going. 360 00:18:09,280 --> 00:18:11,240 Speaker 1: But the book literally starts with you as a kid 361 00:18:11,240 --> 00:18:14,080 Speaker 1: and your friendship with Sean Lennon and you know, your 362 00:18:14,119 --> 00:18:17,200 Speaker 1: mom and the relationship. And it's really interesting because Perry 363 00:18:17,200 --> 00:18:19,560 Speaker 1: Ferrell and I once had a conversation about how he 364 00:18:19,600 --> 00:18:21,840 Speaker 1: was three years old and you know, he's trying to 365 00:18:21,840 --> 00:18:24,480 Speaker 1: oppress his older siblings so they would let him DJA 366 00:18:24,520 --> 00:18:26,440 Speaker 1: at parties and he's like, yeah, that's probably where laal 367 00:18:26,520 --> 00:18:29,080 Speaker 1: Pelouza was formed from. So it's funny looking at the 368 00:18:29,080 --> 00:18:31,879 Speaker 1: parties your parents had. Was that where this need to 369 00:18:32,040 --> 00:18:34,439 Speaker 1: like DJ and be the center of attention kind of 370 00:18:34,840 --> 00:18:36,399 Speaker 1: came from a little bit like it was just an 371 00:18:36,400 --> 00:18:39,119 Speaker 1: inherent in you and any young age pleasing people. 372 00:18:40,080 --> 00:18:42,399 Speaker 3: It's probably some of that, definitely, Like you know, I 373 00:18:42,440 --> 00:18:44,919 Speaker 3: opened the book with the thing of putting on a 374 00:18:45,000 --> 00:18:48,640 Speaker 3: song at my mom and stepdad's wedding. I was ten 375 00:18:48,720 --> 00:18:51,119 Speaker 3: years old, and you know, I'd had a bit of 376 00:18:51,160 --> 00:18:54,639 Speaker 3: a troubled traumatic childhood in my early years year at 377 00:18:54,680 --> 00:18:59,480 Speaker 3: a five, and I do remember, like what it really 378 00:18:59,560 --> 00:19:04,399 Speaker 3: is of my earliest really clear memories of ever having 379 00:19:04,440 --> 00:19:07,000 Speaker 3: done something right, playing this song at the wedding and 380 00:19:07,000 --> 00:19:09,800 Speaker 3: then watching like it changed, like the entire vibe of 381 00:19:09,840 --> 00:19:13,520 Speaker 3: outside of it was happening, and my mom and my 382 00:19:13,560 --> 00:19:17,440 Speaker 3: stepdad having this dance to Wonderful Tonight. 383 00:19:17,200 --> 00:19:18,160 Speaker 4: By Eric Clapton. 384 00:19:18,840 --> 00:19:20,879 Speaker 3: But I think what I started to do when I 385 00:19:20,920 --> 00:19:23,760 Speaker 3: did the book is I knew there would have to 386 00:19:23,800 --> 00:19:28,840 Speaker 3: be loosely based in these chronological chapters, just as a structure. 387 00:19:28,960 --> 00:19:32,440 Speaker 3: And I kept these four giant storyboards in my studio 388 00:19:32,480 --> 00:19:35,360 Speaker 3: at all times. A lot of them were like emotional drivers, 389 00:19:35,359 --> 00:19:40,480 Speaker 3: some of them were like really vague things like why 390 00:19:40,480 --> 00:19:43,280 Speaker 3: why DJs didn't talk on the mic back then? They're 391 00:19:43,560 --> 00:19:47,359 Speaker 3: sort of irregardless of any era or club. So I 392 00:19:47,400 --> 00:19:49,920 Speaker 3: would each time I was on a specific chapter, I'd 393 00:19:49,960 --> 00:19:53,080 Speaker 3: make a storyboard for that chapter and start to pull 394 00:19:53,119 --> 00:19:55,119 Speaker 3: from this thing, what could I talk about not only 395 00:19:55,200 --> 00:19:58,440 Speaker 3: just literally what's going on chronologically at the club Rock Sya, 396 00:19:58,480 --> 00:20:01,880 Speaker 3: but I could actually include this thing about like why 397 00:20:02,560 --> 00:20:04,720 Speaker 3: drunk dj is are a fucking thing and blah blah 398 00:20:04,760 --> 00:20:06,520 Speaker 3: blah blah blah. And I would start to like put 399 00:20:06,560 --> 00:20:09,679 Speaker 3: them all on each board until I was done with 400 00:20:09,760 --> 00:20:12,320 Speaker 3: all the points that I wanted to address, and so 401 00:20:12,400 --> 00:20:14,520 Speaker 3: I had to keep it organizing, you know, in each 402 00:20:14,600 --> 00:20:16,760 Speaker 3: for each chapter, I would have a list of maybe 403 00:20:16,800 --> 00:20:19,359 Speaker 3: twenty people that I knew I needed to interview. What 404 00:20:19,520 --> 00:20:21,639 Speaker 3: was very sad is is the book started to go on. 405 00:20:21,760 --> 00:20:24,600 Speaker 3: Actually a couple of good friends and DJs passed away 406 00:20:24,640 --> 00:20:27,439 Speaker 3: when I was like, oh, I'll call them in three weeks. 407 00:20:27,480 --> 00:20:30,000 Speaker 3: I know I'll get to that. So it was all 408 00:20:30,680 --> 00:20:32,399 Speaker 3: a lot of things going on at the same time. 409 00:20:34,280 --> 00:20:38,199 Speaker 5: I love to know more about the tactile relationship with 410 00:20:38,640 --> 00:20:42,480 Speaker 5: Vinyl and how that kind of duality of really needing 411 00:20:42,520 --> 00:20:45,879 Speaker 5: to take your time, be slow with putting your sets together, 412 00:20:45,920 --> 00:20:49,399 Speaker 5: but then like the insane energy that you were giving 413 00:20:49,440 --> 00:20:53,440 Speaker 5: that too. To me, You've always had this really fascinating 414 00:20:53,760 --> 00:20:57,520 Speaker 5: slowness that I love to, you know, watch and I 415 00:20:57,560 --> 00:21:02,640 Speaker 5: love to hear you speak on about music anything. How 416 00:21:02,800 --> 00:21:06,159 Speaker 5: has How did that kind of duality of the the 417 00:21:06,200 --> 00:21:13,080 Speaker 5: tactileness of music and just kind of chaos influence you know, 418 00:21:13,480 --> 00:21:16,960 Speaker 5: how you approach music and life and all the things. 419 00:21:17,040 --> 00:21:20,600 Speaker 3: Yeah, that's that's true. Actually I never really thought about it, 420 00:21:20,600 --> 00:21:25,760 Speaker 3: because it's true. There's like all this very thoughtful like 421 00:21:26,000 --> 00:21:28,560 Speaker 3: preparation going to putting other records, and the thing that 422 00:21:28,600 --> 00:21:30,480 Speaker 3: I loved about putting the records and the set together 423 00:21:30,520 --> 00:21:33,040 Speaker 3: before the gig, which I've sort of rediscovered, like as 424 00:21:33,040 --> 00:21:36,840 Speaker 3: I'm playing vinyls, you're almost having this like psychic connection 425 00:21:36,960 --> 00:21:39,480 Speaker 3: with the crowd before you've even met them. You're thinking 426 00:21:39,480 --> 00:21:41,679 Speaker 3: about them, You're picturing a dance floor. Maybe it's not 427 00:21:41,720 --> 00:21:45,399 Speaker 3: that fucking obviously the same people, but there's this idea 428 00:21:45,520 --> 00:21:48,040 Speaker 3: of like, oh, I'm going to play Chaka Khan and 429 00:21:48,080 --> 00:21:49,560 Speaker 3: then I know that I'm going to take them to 430 00:21:49,640 --> 00:21:52,320 Speaker 3: New Shoes and then into day last soul and then 431 00:21:52,359 --> 00:21:54,160 Speaker 3: you get to the club and like you said, it's 432 00:21:54,200 --> 00:21:57,159 Speaker 3: just this. You know, you start the night slow, but 433 00:21:57,200 --> 00:21:59,800 Speaker 3: when you hit the peak, you're just in this chaotic 434 00:22:00,520 --> 00:22:03,760 Speaker 3: vinyl ballet, throwing records every which way. And it is 435 00:22:03,840 --> 00:22:06,200 Speaker 3: this balance of both. 436 00:22:05,960 --> 00:22:08,480 Speaker 4: But I think you need both. 437 00:22:08,600 --> 00:22:11,639 Speaker 3: And I was a very specific kind of DJ, Like 438 00:22:11,800 --> 00:22:14,879 Speaker 3: I love that, like throwing records on and off to 439 00:22:14,960 --> 00:22:17,840 Speaker 3: hype the crowd and keep like building them to this 440 00:22:17,920 --> 00:22:21,919 Speaker 3: almost orgasmic level of the thing, which is very different 441 00:22:21,960 --> 00:22:24,800 Speaker 3: from you know, some of the incredible house and techno 442 00:22:24,880 --> 00:22:29,560 Speaker 3: DJs are you know, really elegant blends and three turntables 443 00:22:29,560 --> 00:22:32,760 Speaker 3: and like, you know, this kind of like the way 444 00:22:32,760 --> 00:22:34,840 Speaker 3: that music is mixed in that genre. I just wanted 445 00:22:34,840 --> 00:22:36,399 Speaker 3: to like hit him, hit them, hit him, which was 446 00:22:36,440 --> 00:22:39,720 Speaker 3: probably part of my like greedy compulsion of like needing 447 00:22:39,760 --> 00:22:44,600 Speaker 3: this validation as well. But yeah, all those things went 448 00:22:44,640 --> 00:22:46,240 Speaker 3: into it. And then at the end of the night, 449 00:22:46,400 --> 00:22:49,960 Speaker 3: then you're sort of playing Stevie Wonder and whoever, and 450 00:22:50,000 --> 00:22:52,280 Speaker 3: you're letting the songs play and breathe again. But the 451 00:22:52,800 --> 00:22:56,360 Speaker 3: peak of the night was always this mad, yeah, this 452 00:22:56,720 --> 00:23:00,919 Speaker 3: mad sort of yeah, chaotic vinyl ballet. 453 00:23:02,240 --> 00:23:06,160 Speaker 5: Looking back on those spaces, what are some of the musical, cultural, 454 00:23:06,400 --> 00:23:10,600 Speaker 5: or relational aspects that you feel especially no nostalgic for that. 455 00:23:10,680 --> 00:23:12,879 Speaker 5: You're like, we should bring it back. 456 00:23:13,960 --> 00:23:16,359 Speaker 3: Yeah, I don't know if we'll ever be able to 457 00:23:16,359 --> 00:23:20,720 Speaker 3: bring it back, because this was before so many things, 458 00:23:20,840 --> 00:23:24,080 Speaker 3: was before smartphones, so people were like, were very present 459 00:23:24,119 --> 00:23:26,080 Speaker 3: in the club and listen, I'm as guilty of it. 460 00:23:26,119 --> 00:23:28,520 Speaker 3: I'm looking at my phone during the club or whatever 461 00:23:28,560 --> 00:23:31,960 Speaker 3: it is, like seeing a text message came through, or what's. 462 00:23:31,840 --> 00:23:34,680 Speaker 4: Going on down the street. There was no bottle. 463 00:23:34,359 --> 00:23:37,080 Speaker 3: Service back then, which is obviously you know, going on 464 00:23:37,119 --> 00:23:39,120 Speaker 3: in all the great clubs in Brooklyn and Queens there's 465 00:23:39,160 --> 00:23:42,520 Speaker 3: no bottle service. But bottle service really decimated New York 466 00:23:42,560 --> 00:23:47,320 Speaker 3: in a way because these banquettes and booths where club 467 00:23:47,359 --> 00:23:49,720 Speaker 3: owners can make a lot of money charging for bottles, 468 00:23:50,080 --> 00:23:52,280 Speaker 3: started to become more and more and more and populate 469 00:23:52,400 --> 00:23:55,000 Speaker 3: the club till the dance floor just got the size 470 00:23:55,000 --> 00:23:58,800 Speaker 3: of a jacuzzi. So there was all these things going on, 471 00:23:58,840 --> 00:23:59,400 Speaker 3: and then. 472 00:24:01,800 --> 00:24:02,840 Speaker 4: Yeah, and then New. 473 00:24:02,760 --> 00:24:07,480 Speaker 3: York just became too expensive and you know, people, it's cool, 474 00:24:07,520 --> 00:24:09,199 Speaker 3: young people you'd want in the club kind of. 475 00:24:09,160 --> 00:24:11,080 Speaker 4: Couldn't afford to live in New York City. Anymore. 476 00:24:11,560 --> 00:24:13,440 Speaker 3: So there's a lot of reasons that I don't think 477 00:24:13,440 --> 00:24:15,640 Speaker 3: it's going back. It doesn't mean it's not just as 478 00:24:15,680 --> 00:24:21,880 Speaker 3: exciting in different places. But the venues that were some 479 00:24:21,960 --> 00:24:26,840 Speaker 3: of my favorites were. It was a club called New 480 00:24:26,920 --> 00:24:30,800 Speaker 3: Music Cafe on Canal and Shine on Canal and West 481 00:24:31,080 --> 00:24:33,680 Speaker 3: Broadway Storry, which then became Shine and now I think 482 00:24:33,680 --> 00:24:37,080 Speaker 3: it's like an oyster bar, even though it was very 483 00:24:37,160 --> 00:24:40,480 Speaker 3: vipn over the top and probably a little precocious. There 484 00:24:40,560 --> 00:24:42,840 Speaker 3: was a club called Life, which is now La Place 485 00:24:42,920 --> 00:24:45,280 Speaker 3: m Rouge, which was a basement down on Bleaker and 486 00:24:45,320 --> 00:24:49,119 Speaker 3: that was where like jay Z and Prince and Mariah 487 00:24:49,240 --> 00:24:52,239 Speaker 3: Carey and like all these people came every fucking Friday night. 488 00:24:52,280 --> 00:24:53,200 Speaker 4: And it was such a scene. 489 00:24:53,280 --> 00:24:57,160 Speaker 3: It was all these people packed into this crowded, sweaty basement. 490 00:24:58,760 --> 00:25:02,840 Speaker 5: It's I would just one last question. You have such 491 00:25:02,840 --> 00:25:06,360 Speaker 5: an eclectic love of music. I'm curious right now what 492 00:25:06,400 --> 00:25:09,760 Speaker 5: you're listening to, what you're really into, if you've discovered 493 00:25:09,800 --> 00:25:12,440 Speaker 5: a different thing, or your refall in love. 494 00:25:12,280 --> 00:25:21,480 Speaker 3: With Yeah, I well, when i'm DJing, I'm actually playing 495 00:25:21,520 --> 00:25:23,880 Speaker 3: a lot of music from the nineties and two thousands, 496 00:25:23,920 --> 00:25:28,000 Speaker 3: which sort of is both a little backwards looking, but 497 00:25:28,119 --> 00:25:30,960 Speaker 3: I just I'm playing vinyl, and that's obviously where my 498 00:25:31,040 --> 00:25:36,159 Speaker 3: vinyl collection ends. About I swear like most of the 499 00:25:36,240 --> 00:25:38,280 Speaker 3: music now that we listened to in the house. You know, 500 00:25:38,560 --> 00:25:40,320 Speaker 3: our two and a half year old daughter what she's 501 00:25:40,359 --> 00:25:45,240 Speaker 3: listening to, So that could be anything from Pink Pony 502 00:25:45,280 --> 00:25:48,920 Speaker 3: Club to you know, she loves Jooni Mitchell, she loves 503 00:25:48,920 --> 00:25:52,920 Speaker 3: Scenario by Tribe called Quest. She's just like discovered this 504 00:25:53,080 --> 00:25:54,080 Speaker 3: song on and. 505 00:25:54,200 --> 00:25:56,639 Speaker 4: J by Jiao Gilberto like. 506 00:25:57,240 --> 00:26:00,040 Speaker 3: But honestly, whatever's playing in the house really at this 507 00:26:00,080 --> 00:26:02,240 Speaker 3: moment is what she wants to be listening to. But 508 00:26:02,320 --> 00:26:07,280 Speaker 3: I'm always looking for discovering new music, and you know, 509 00:26:07,320 --> 00:26:10,280 Speaker 3: it still excites me to look for new ship. 510 00:26:11,359 --> 00:26:12,880 Speaker 1: All right, So then I have to ask because I'm 511 00:26:12,880 --> 00:26:15,120 Speaker 1: the same way, because I've interviewed every fucking person who 512 00:26:15,160 --> 00:26:17,400 Speaker 1: ever lived, and I still get excited when I hear 513 00:26:17,400 --> 00:26:19,640 Speaker 1: something that blows me away. So it was the last 514 00:26:19,640 --> 00:26:25,440 Speaker 1: thing you heard that just blew your mind? 515 00:26:26,840 --> 00:26:27,119 Speaker 7: Fuck? 516 00:26:28,240 --> 00:26:34,000 Speaker 3: I'm always so bad underfire on these kind of questions, 517 00:26:34,040 --> 00:26:39,639 Speaker 3: But fuck, I don't know, I'm like, there there was 518 00:26:39,720 --> 00:26:45,800 Speaker 3: a bunch of shit. I mean, I really, I mean, 519 00:26:45,840 --> 00:26:49,400 Speaker 3: I actually really like the wet leg record. 520 00:26:50,080 --> 00:26:53,360 Speaker 7: I like this artist named emery. 521 00:26:54,840 --> 00:27:01,760 Speaker 3: E m o r I uh, artist's named Sailor with 522 00:27:01,760 --> 00:27:03,880 Speaker 3: two rs. It has this record that I really did 523 00:27:04,040 --> 00:27:13,120 Speaker 3: called Pooky's Requiem Russowski. Yeah, maybe that's the one. There's 524 00:27:13,119 --> 00:27:17,760 Speaker 3: a track called Malibu by Russowski. R Usowsky. It's super 525 00:27:17,800 --> 00:27:18,639 Speaker 3: interesting to me. 526 00:27:33,320 --> 00:27:35,520 Speaker 1: Nice of hip it out. Yeah, there's a ton of 527 00:27:35,520 --> 00:27:38,560 Speaker 1: good music this year, a lot of stuff I really love, 528 00:27:38,920 --> 00:27:40,359 Speaker 1: but you know, it's interesting. One thing I want to 529 00:27:40,400 --> 00:27:42,440 Speaker 1: come on too. It's funny because we talked from the 530 00:27:42,480 --> 00:27:45,000 Speaker 1: beginning about being friends with Sean, you know, in your 531 00:27:45,040 --> 00:27:48,119 Speaker 1: mom's relationship, obviously with making like you know, so you 532 00:27:48,119 --> 00:27:51,680 Speaker 1: were around all that stuff. What I found is, even 533 00:27:51,800 --> 00:27:54,959 Speaker 1: you know, having interviewed everybody from James Brown to B. B. King, 534 00:27:54,960 --> 00:27:57,280 Speaker 1: there's still people you get excited about. So is there 535 00:27:57,320 --> 00:27:59,639 Speaker 1: still that level of like maybe not so much now, 536 00:27:59,680 --> 00:28:02,080 Speaker 1: but when you first got into the DJ scene, you 537 00:28:02,119 --> 00:28:04,800 Speaker 1: grew up listening to all this music that you really loved, 538 00:28:05,119 --> 00:28:07,480 Speaker 1: and then all these people became your peers and your friends, 539 00:28:07,520 --> 00:28:09,680 Speaker 1: and you know, it's funny. I just interviewed Q Tip, 540 00:28:09,720 --> 00:28:12,080 Speaker 1: who does not depress at all, but he agreed to 541 00:28:12,080 --> 00:28:13,760 Speaker 1: do a story I was doing for the Only Times 542 00:28:13,760 --> 00:28:16,080 Speaker 1: on Culture and I love Supreme and what a cool dude. 543 00:28:16,119 --> 00:28:17,920 Speaker 1: He's like, I will talk about music all day. Don't 544 00:28:17,920 --> 00:28:21,399 Speaker 1: ask me about my own stuff. Yeah, yeah, yeah, He's like, 545 00:28:21,440 --> 00:28:23,480 Speaker 1: I would love to talk about this, And like, is 546 00:28:23,560 --> 00:28:25,640 Speaker 1: there that still sense of wonder of like you're sitting 547 00:28:25,680 --> 00:28:27,840 Speaker 1: there talking to music with these people who are your heroes? 548 00:28:29,000 --> 00:28:30,000 Speaker 7: Always still? 549 00:28:30,280 --> 00:28:32,480 Speaker 3: I mean listen, I still sometimes I be talking to 550 00:28:32,520 --> 00:28:35,640 Speaker 3: c Tip about a song and just you know, we've 551 00:28:35,680 --> 00:28:38,480 Speaker 3: been friends for so long now, but it's it's impossible 552 00:28:38,560 --> 00:28:42,280 Speaker 3: not to think, like how much his his musical tastes 553 00:28:42,280 --> 00:28:44,719 Speaker 3: and output has shaped my life. 554 00:28:44,760 --> 00:28:48,240 Speaker 7: And they're like, you know, fucking. 555 00:28:50,160 --> 00:28:53,640 Speaker 3: I once exchange an email with Donald Fagan like that 556 00:28:53,720 --> 00:28:55,920 Speaker 3: was probably the greatest thrill of my. 557 00:28:58,440 --> 00:29:00,160 Speaker 7: One A good that's one of my old time I'm 558 00:29:00,200 --> 00:29:01,040 Speaker 7: greatest heroes. 559 00:29:01,160 --> 00:29:08,680 Speaker 8: You know, there's these people, and these people have immeasurably 560 00:29:08,760 --> 00:29:12,600 Speaker 8: shaped my life and like changed the molecules in my body. 561 00:29:12,680 --> 00:29:15,280 Speaker 7: So yes, it totally freaks me up. 562 00:29:16,240 --> 00:29:18,280 Speaker 1: I now I have to ask one more question of this, 563 00:29:18,320 --> 00:29:21,120 Speaker 1: but I'm curious because I'm a total cely Dan fanatic. 564 00:29:21,760 --> 00:29:23,280 Speaker 1: What's the favorite cely Dan song? 565 00:29:24,720 --> 00:29:28,040 Speaker 3: Oh Man, that changes just like all the time. But 566 00:29:29,760 --> 00:29:33,400 Speaker 3: I mean sometimes even though it's it's more emblematic of 567 00:29:33,520 --> 00:29:38,880 Speaker 3: the first record, like any Major Dude is just like 568 00:29:39,080 --> 00:29:42,640 Speaker 3: that one just always gets me choked out because I 569 00:29:42,640 --> 00:29:47,320 Speaker 3: think anybody who's just had a friend or lost a 570 00:29:47,360 --> 00:29:52,320 Speaker 3: friend to addiction, that one is a really big one. 571 00:29:52,560 --> 00:29:59,400 Speaker 3: I think, honestly, Asia sometimes like just the harmonic sophistication 572 00:29:59,480 --> 00:30:02,240 Speaker 3: of that because because there's all the there's all the hits, 573 00:30:02,240 --> 00:30:04,880 Speaker 3: and there's Black Cown, there's Peg, and there's Ricky and 574 00:30:04,920 --> 00:30:09,480 Speaker 3: there's things, and I just those will always have a 575 00:30:09,560 --> 00:30:11,680 Speaker 3: huge hold over me. But you know, you hear them 576 00:30:11,720 --> 00:30:15,200 Speaker 3: so much just you know, think Asia, any major Dude, 577 00:30:15,400 --> 00:30:18,680 Speaker 3: and there's not one that I don't love, So it's 578 00:30:18,680 --> 00:30:19,920 Speaker 3: hard to say. 579 00:30:20,520 --> 00:30:22,280 Speaker 1: Yeah, I got a think for Doctor wu Man, that 580 00:30:22,360 --> 00:30:23,560 Speaker 1: song just blows my mind. 581 00:30:25,200 --> 00:30:26,680 Speaker 4: Yeah. 582 00:30:26,760 --> 00:30:31,720 Speaker 1: So the podcast component is it's called in Service Up 583 00:30:31,720 --> 00:30:33,800 Speaker 1: and we talked about giving back and I'm sure that's 584 00:30:33,880 --> 00:30:36,960 Speaker 1: very different meaning to you now both you know, as 585 00:30:37,000 --> 00:30:39,240 Speaker 1: a dad. But it's interesting because you just mentioned the 586 00:30:39,240 --> 00:30:42,720 Speaker 1: addiction and it's funny for some reason, you know, similar 587 00:30:42,720 --> 00:30:45,400 Speaker 1: to you, Like you know, with music, I've interviewed so 588 00:30:45,440 --> 00:30:48,280 Speaker 1: many people and I've recently, I've been thinking a lot 589 00:30:48,320 --> 00:30:50,520 Speaker 1: about the interview I did with Phillips Seymour Hoffman, who 590 00:30:50,520 --> 00:30:53,120 Speaker 1: to me was the greatest actor of his generation. Brilliant 591 00:30:53,520 --> 00:30:56,320 Speaker 1: and you know, we lost to an overdose. And there's 592 00:30:56,640 --> 00:30:58,720 Speaker 1: probably an element I've talked to so many people who 593 00:30:59,040 --> 00:31:02,080 Speaker 1: have gone through addiction about there's like, you know, definitely 594 00:31:02,120 --> 00:31:04,280 Speaker 1: a feeling of like there but for the grace of God. 595 00:31:04,400 --> 00:31:06,160 Speaker 1: You know, it's very lucky to come out of it 596 00:31:06,200 --> 00:31:09,000 Speaker 1: because so many people don't. And I, like you have 597 00:31:09,080 --> 00:31:11,760 Speaker 1: lost so many musician friends to it. So for you 598 00:31:11,880 --> 00:31:15,000 Speaker 1: talk about the importance of giving back and you know 599 00:31:15,360 --> 00:31:17,040 Speaker 1: what that means to you and how you do that. 600 00:31:17,680 --> 00:31:19,280 Speaker 1: And just as a musician, by the way, it's funny 601 00:31:19,280 --> 00:31:21,760 Speaker 1: just as a DJ, like you say, just giving people 602 00:31:21,760 --> 00:31:24,320 Speaker 1: a night out, whether they're looking to dance or communal 603 00:31:24,440 --> 00:31:26,280 Speaker 1: or get laid or do all three of the above. 604 00:31:26,920 --> 00:31:30,800 Speaker 1: You know, that's that's part of service as well, because 605 00:31:30,840 --> 00:31:32,000 Speaker 1: you're giving people an escape. 606 00:31:33,360 --> 00:31:37,560 Speaker 7: Yeah. Sorry, is it good question or right? 607 00:31:37,640 --> 00:31:38,960 Speaker 1: Yeah? The question is what does it mean to you 608 00:31:39,000 --> 00:31:40,200 Speaker 1: to give back and how do you do it? 609 00:31:40,520 --> 00:31:48,120 Speaker 3: Oh, I don't consider music, may be getting to make 610 00:31:48,240 --> 00:31:52,120 Speaker 3: music as a charitable like that's me giving back. I 611 00:31:52,760 --> 00:31:57,400 Speaker 3: know that there's people who who will come up to 612 00:31:57,400 --> 00:31:59,200 Speaker 3: me and tell me that back to Black got them 613 00:31:59,200 --> 00:32:01,320 Speaker 3: through a really hard time in their life, or even 614 00:32:01,440 --> 00:32:05,480 Speaker 3: like a song is just like relentlessly optimistic, as Uptown Funk. 615 00:32:05,560 --> 00:32:06,520 Speaker 7: Does that for people. 616 00:32:07,160 --> 00:32:09,120 Speaker 3: It would be really ridiculous to me to say, like 617 00:32:09,160 --> 00:32:11,400 Speaker 3: I do it as a charitable service. I mean, I 618 00:32:11,560 --> 00:32:14,360 Speaker 3: punched myself for saying that, But I do think that 619 00:32:18,600 --> 00:32:21,640 Speaker 3: what I'm constantly aware of how fucking lucky I am 620 00:32:21,840 --> 00:32:23,880 Speaker 3: is to do the thing that brings me the most 621 00:32:24,000 --> 00:32:24,560 Speaker 3: joy and. 622 00:32:26,200 --> 00:32:29,960 Speaker 7: Make a living off it and then and that's why 623 00:32:30,000 --> 00:32:34,520 Speaker 7: I feel like more like the world has been charitable 624 00:32:35,200 --> 00:32:35,480 Speaker 7: to me. 625 00:32:36,160 --> 00:32:37,680 Speaker 4: I mean, I give back in other ways. 626 00:32:37,680 --> 00:32:40,400 Speaker 3: I give back to charities and doing work for organizations 627 00:32:40,400 --> 00:32:44,000 Speaker 3: and things that need it. But I don't really see 628 00:32:44,040 --> 00:32:48,680 Speaker 3: as music as a me making music as an altruistic thing. 629 00:32:50,720 --> 00:32:52,800 Speaker 1: Cool. Well, we've only got a couple minute stuff on zoom. 630 00:32:52,840 --> 00:32:54,200 Speaker 1: Is there anything that you want to add me and 631 00:32:54,240 --> 00:32:56,560 Speaker 1: ask about? I guess my last question would just be, 632 00:32:56,880 --> 00:32:58,600 Speaker 1: you know, it's funny, what did you take away from 633 00:32:58,640 --> 00:33:01,280 Speaker 1: writing the bookcase? Again, similar to making out when you 634 00:33:01,280 --> 00:33:03,000 Speaker 1: get lost in something you don't even know what the 635 00:33:03,040 --> 00:33:04,640 Speaker 1: hell it's about. And then it's only when you look 636 00:33:04,680 --> 00:33:07,080 Speaker 1: at the end that you kind of take away the 637 00:33:07,200 --> 00:33:09,920 Speaker 1: lessons or meaning. So when you read it back as 638 00:33:09,960 --> 00:33:12,640 Speaker 1: a finished work, you know, was there anything that you 639 00:33:12,720 --> 00:33:15,520 Speaker 1: kind of took away from it that kind of surprised you. 640 00:33:17,440 --> 00:33:21,040 Speaker 3: I think that I probably have a little bit more 641 00:33:21,120 --> 00:33:24,160 Speaker 3: hindsight in five or ten years, because it's still so 642 00:33:24,840 --> 00:33:27,400 Speaker 3: fresh and I've spent three years writing and it's only 643 00:33:27,440 --> 00:33:28,560 Speaker 3: been done for three months. 644 00:33:28,560 --> 00:33:29,240 Speaker 7: But I think that. 645 00:33:31,560 --> 00:33:34,360 Speaker 3: When I look at it back at it, what I 646 00:33:34,400 --> 00:33:39,600 Speaker 3: feel the most is this celebration. 647 00:33:39,080 --> 00:33:42,680 Speaker 9: Of all these like unsung characters who are just incredible, 648 00:33:42,760 --> 00:33:46,320 Speaker 9: like not superstars, but people who just made New York 649 00:33:46,480 --> 00:33:49,960 Speaker 9: move at the time and gave me opportunity to DJ 650 00:33:50,120 --> 00:33:51,080 Speaker 9: and gave me my shot. 651 00:33:51,800 --> 00:33:54,040 Speaker 3: And then I think it celebrates a lot of people 652 00:33:54,120 --> 00:33:59,440 Speaker 3: who died and hopefully gives a bit of a snapshot 653 00:33:59,080 --> 00:34:01,800 Speaker 3: of a time and that's not very documented, like the 654 00:34:01,880 --> 00:34:05,800 Speaker 3: nineties in this little sliver of New York downtown night life. 655 00:34:06,400 --> 00:34:08,000 Speaker 7: I think that's what it is. 656 00:34:08,040 --> 00:34:11,560 Speaker 3: And hopefully my daughters won't like read it and be 657 00:34:11,719 --> 00:34:14,399 Speaker 3: like I think it's fucking cringe or whatever the fuck 658 00:34:14,520 --> 00:34:17,040 Speaker 3: they were, They'll be using in ten fifteen years from 659 00:34:17,080 --> 00:34:18,440 Speaker 3: now and they're old enough to read it. 660 00:34:20,640 --> 00:34:22,640 Speaker 1: Of course they will. That's part of being a parent. 661 00:34:22,840 --> 00:34:25,160 Speaker 1: Patty is the oldest woman who ever lived, and she's like, 662 00:34:25,160 --> 00:34:27,000 Speaker 1: when I'm home, just mom doing laundry. 663 00:34:27,560 --> 00:34:29,759 Speaker 7: Yeah, no, totally cool. 664 00:34:29,800 --> 00:34:32,480 Speaker 1: Anything you want to add that we didn't ask about. 665 00:34:32,120 --> 00:34:33,160 Speaker 7: No, that's great. 666 00:34:33,800 --> 00:34:35,399 Speaker 5: I love to ask one more. That's okay. 667 00:34:35,560 --> 00:34:35,759 Speaker 7: Yeah. 668 00:34:38,520 --> 00:34:40,880 Speaker 5: The in service of question I love and hate because 669 00:34:40,920 --> 00:34:42,759 Speaker 5: you know, it's such an on the spot thing, but 670 00:34:42,800 --> 00:34:46,799 Speaker 5: I think musicians and you are so in service of 671 00:34:46,840 --> 00:34:49,320 Speaker 5: the music, and to me, that's in service of humanity. 672 00:34:49,640 --> 00:34:54,000 Speaker 5: And like getting to look back with you and read 673 00:34:54,000 --> 00:34:59,160 Speaker 5: this book. I'm so excited to tap more into what 674 00:34:59,280 --> 00:35:03,120 Speaker 5: that means. Means, you know, the slowness of really understanding 675 00:35:03,160 --> 00:35:05,880 Speaker 5: the music, Like I love music of the past. I 676 00:35:05,920 --> 00:35:09,200 Speaker 5: love how you pay homage to where we came from. 677 00:35:09,480 --> 00:35:16,000 Speaker 5: This there's this nostalgia, this timeless entity in everything you create. 678 00:35:16,400 --> 00:35:19,880 Speaker 5: So the question is now in twenty twenty five, like 679 00:35:19,920 --> 00:35:22,680 Speaker 5: what are you excited about with music? And what are 680 00:35:22,719 --> 00:35:25,640 Speaker 5: you trepidacious of with where we're going. I mean, I 681 00:35:25,680 --> 00:35:28,799 Speaker 5: hate to bring AI in, but I'm very I'm very 682 00:35:28,840 --> 00:35:35,120 Speaker 5: interested to hear what you're feeling now in music, Well. 683 00:35:35,000 --> 00:35:42,400 Speaker 7: I think AI is, Like, yes, of course, it's scary how. 684 00:35:43,920 --> 00:35:47,920 Speaker 3: Well AI can make something I guess good out of 685 00:35:47,960 --> 00:35:52,960 Speaker 3: something that's not talented, maybe somebody who doesn't. 686 00:35:54,520 --> 00:35:55,160 Speaker 4: I don't want to. 687 00:35:55,160 --> 00:35:57,319 Speaker 3: Make you sound like sort of nefarious, but you know, 688 00:35:57,360 --> 00:36:00,680 Speaker 3: in the same way auto tune, which we really help 689 00:36:00,760 --> 00:36:04,560 Speaker 3: people who can't really sing or don't have great voices 690 00:36:04,719 --> 00:36:08,359 Speaker 3: to make music that we enjoy. So like it's good 691 00:36:08,360 --> 00:36:11,880 Speaker 3: to remember it in those terms a little bit. I 692 00:36:11,920 --> 00:36:15,839 Speaker 3: have like really mixed feelings about AI, Like I hear 693 00:36:15,880 --> 00:36:17,880 Speaker 3: a lot of it and it sounds like garbage, and 694 00:36:17,920 --> 00:36:22,040 Speaker 3: it sounds very cold and it doesn't have human soul 695 00:36:22,080 --> 00:36:25,480 Speaker 3: in it, but like the technology is incredible. 696 00:36:25,520 --> 00:36:27,560 Speaker 7: Like there will be a. 697 00:36:27,200 --> 00:36:29,960 Speaker 3: Point at some time when I will fail the Pepsi 698 00:36:30,080 --> 00:36:32,399 Speaker 3: challenge and somebody will say, like, which one of these 699 00:36:32,440 --> 00:36:32,719 Speaker 3: is real? 700 00:36:32,760 --> 00:36:33,320 Speaker 4: Which isn't? 701 00:36:33,360 --> 00:36:39,920 Speaker 3: But what's exciting about music is there's just always somebody 702 00:36:39,960 --> 00:36:43,319 Speaker 3: taking something, even if it's older, and putting it through 703 00:36:43,320 --> 00:36:46,000 Speaker 3: a new, fresh lens. And you know, I think of 704 00:36:46,480 --> 00:36:48,440 Speaker 3: the things I was influenced by in the nineties and 705 00:36:48,480 --> 00:36:50,360 Speaker 3: two thousands, of the things I loved or some of 706 00:36:50,360 --> 00:37:02,520 Speaker 3: the music that I was making