Speaker 1: Request Left show is a production of iHeart radio.
Speaker 2: Ladies and gentlemen, I cannot lie to you and say
Speaker 2: that our guest today has had some sort of hand
Speaker 2: and luring my very band to a certain label called
Speaker 2: GEFN DGC, even long before we met. As the co
Speaker 2: founder of the legendary band Sonic Youth, our guests has
Speaker 2: crafted a movement for more than four decades, inspiring anyone
Speaker 2: worth their grain of salt of greatness. Name them Nirvana's
Speaker 2: Magic Pumpkins, Pixie's Pavement, Dinosaur Jr. Pro Jam, Whole Radiohead Sugar.
Speaker 2: I mean, the list goes on and on and on.
Speaker 2: I mean this is the definition of when you hear
Speaker 2: people say like your artist's favorite or that meta rabbit hole.
Speaker 2: Our guests and bodies that today she said countless of
Speaker 2: I be here all day. We even just talk about
Speaker 2: the collaborations, always pushing the boundaries of creativity and staying fresh.
Speaker 2: An architect of patron, saint of many movements, pioneer of
Speaker 2: the downtown scene. Are you embarrassed when we come with
Speaker 2: way too many superlatives like.
Speaker 3: She's long for the daylight? Ladies and gentlemen, you.
Speaker 4: Can check out the imposter syndrome.
Speaker 3: For sure, I get the coolest bass player ever. Thank
Speaker 3: you Kem Gordon for coming to the Quest Left Show.
Speaker 3: Appreciate it. How WI great to see you. All right.
Speaker 2: Well, that's what I want to start with because I
Speaker 2: know that oftentimes there's the battle the idea of you
Speaker 2: versus what you feel is the authentic you. So to
Speaker 2: break the ice, I always wanted to ask you this,
Speaker 2: Can you tell me three things that you think are
Speaker 2: uncool about you?
Speaker 4: Well? I guess mostly like I don't think I'm cool,
Speaker 4: like I do battle like this kind of feeling of
Speaker 4: awkwardness to some extent, you know, unless I'm in a
Speaker 4: flow of working or doing something. You know, like I
Speaker 4: have a basket of different socks that I wish I
Speaker 4: could just get rid of and start over.
Speaker 2: I don't know, you know what, Actually, it's funny you
Speaker 2: mentioned that I kind of did that last week. I
Speaker 2: don't know why I decided to just have a sea
Speaker 2: change of all my T shirts, mind to wear my socks.
Speaker 2: I decided getting rid of whatever has collectively like just
Speaker 2: been there for the last decade and a half and
Speaker 2: just start over fresh. I don't know if that's my
Speaker 2: version of just getting a new haircut. I'm gonna change
Speaker 2: mind to where it started.
Speaker 3: Actually, you know, it's weird.
Speaker 2: I probably met you in the most ideal way whatsoever.
Speaker 2: So when you walk in a room, do you feel
Speaker 2: sort of self conscious because you know that there's an
Speaker 2: expected cool factor that we've tagged on you? Or do
Speaker 2: you just feel like you just blend in and no
Speaker 2: one knows that you've walked in?
Speaker 3: Yeah?
Speaker 4: I pretty much don't think anyone's gonna know who I am.
Speaker 2: Okay, so am I allowed to say where we first met?
Speaker 3: Where we were at a.
Speaker 2: New Year's e party at uh Natasha, right Natasha's house.
Speaker 2: It was so spot on and cliche that I was like, yeah,
Speaker 2: of course, Kim Gordon just walks into a Neyear's party
Speaker 2: inside in Natasha's house and is the coolest person in
Speaker 2: the room. Literally, like seven of us like just hushed
Speaker 2: down and then almost felt like our pressure was getting
Speaker 2: to you because I wanted to say something to you,
Speaker 2: but then I was like, no, she's probably in her
Speaker 2: head right now, so I didn't say it.
Speaker 3: But then eventually I did talk to you.
Speaker 2: But do you often feel that we're talking like geeking
Speaker 2: out over you?
Speaker 3: Or just no?
Speaker 4: I mean honestly, like, I think that's that's the last
Speaker 4: thing I think, okay, And I'm kind of a shy person,
Speaker 4: so people maybe expect me to be different, so they
Speaker 4: think I'm cool because well, I'm not saying a lot.
Speaker 2: Can I ask you, what's the best compliment you've ever
Speaker 2: received that you actually received it without like the imposter
Speaker 2: syndrome like sort of ducking out.
Speaker 4: Gosh, I don't know. I mean, I know someone said
Speaker 4: from my last record that I was a genre on
Speaker 4: to myself, which I guess I relate to that, okay,
Speaker 4: because I don't really like to think in terms of
Speaker 4: music genres or anyway.
Speaker 2: Well, I was going to ask later, when you create,
Speaker 2: are you sort of of the moment you don't know
Speaker 2: what's going to happen the second that you whatever you
Speaker 2: deemed your studio home base, do you know what's going
Speaker 2: to happen? Or are you a person that has to
Speaker 2: like pre plant way ahead of time?
Speaker 3: And then no, I'd.
Speaker 4: Like spontaneity and improvisation a lot. So I mean when
Speaker 4: I work with Justin, like, he'll send me some you know,
Speaker 4: beats and things, and I'll figure out what it is
Speaker 4: I feel drawn to and then you know, kind of
Speaker 4: write some lyrics. But then when I go in and
Speaker 4: put guitar down to make it kind of messier. You know,
Speaker 4: it's like having a white canvas, like you can't it's
Speaker 4: hard to paint on a white canvas.
Speaker 3: You have to right anyway.
Speaker 4: And then I'll but I'll tend to not really know
Speaker 4: exactly where things are going to fall. And then sometimes
Speaker 4: I'll just think, will just come out of my mouth,
Speaker 4: you know, Okay, what the hell is that?
Speaker 3: Can you tell me?
Speaker 2: What are the things that you did in the first
Speaker 2: twenty minutes of your day today?
Speaker 4: Well, I guess I looked at my stupid phone. Okay,
Speaker 4: I'm saying it. A friends my galleries, and so I
Speaker 4: went down on made tea and I talked to her.
Speaker 4: She just came back from the Miami Yard for her and.
Speaker 2: Okay, all right, this is rather random non sequitor. But
Speaker 2: I'll just ask what is the bravest thing that you
Speaker 2: think you've ever done?
Speaker 4: That's a tough one. I guess the bravest thing maybe
Speaker 4: was deciding to become pregnant and have a baby. It's
Speaker 4: sort of like a world of unknown.
Speaker 2: I want advice on that. I want advice on that
Speaker 2: because of all the members of the roots, I'm the one.
Speaker 3: That's childless still, okay, because I still.
Speaker 2: Think in terms of like, ah, this will slow me down.
Speaker 2: Oh this has slowed me down. But I'll also say
Speaker 2: that me coming to grips with that level of vulnerability,
Speaker 2: you know, I'm a very calculated or if I fail,
Speaker 2: I need to perfect this verse.
Speaker 3: I'm not.
Speaker 2: You know, we're the manual instructions for this, and I
Speaker 2: feel like that's one of the things where you just
Speaker 2: have to fuck it, like just let it happen. Yeah,
Speaker 2: right now, I'm probably as close as I've ever been
Speaker 2: to just like what else is left?
Speaker 5: Yeah?
Speaker 2: Dog, you did everything, Like it's not going to get
Speaker 2: more perfect than this.
Speaker 3: What was that feeling like really just giving in?
Speaker 2: Because I'm actually asking from an advice standpoint, how do
Speaker 2: you allow yourself the vulnerability to accept that type of love?
Speaker 4: I don't know. I mean, it's just like, you know,
Speaker 4: first of all, you you only live once that we know,
Speaker 4: so I don't know. I just felt like, oh, there's
Speaker 4: just like a whole set of experiences and there's something
Speaker 4: about when you have someone to take care of that's
Speaker 4: really dependent on you. It takes you out of your head,
Speaker 4: you know, in a nice way, and it's kind of
Speaker 4: you know, it's funend I do. I mean, yes, obviously,
Speaker 4: of course I highly recommend it. I'm not sure I
Speaker 4: recommend having more than one. I only had one. But
Speaker 4: I mean, you know, if you're like travel of you know,
Speaker 4: you work a lot, you know, it's difficult. I think
Speaker 4: it's harder for women because as equal as your relationship
Speaker 4: can be, it's still kind of a lot falls to
Speaker 4: the the mama somehow, you know, scheduling, Like you have
Speaker 4: a certain urgency towards your when your baby cries because
Speaker 4: it's hungry, Like you just want that's to stop, you know.
Speaker 2: Can you still be creative and balance? I think that's
Speaker 2: the thing that I fear the most. Like I'm so
Speaker 2: detail oriented that I almost feel as though I have to.
Speaker 3: That's a bad metaphor to you.
Speaker 2: I always use the term throw the baby out with
Speaker 2: the bath water, but meaning just in terms of of
Speaker 2: making sure that I'm one hundred percent present. Yeah, And
Speaker 2: I just always figured you can't serve two gods in
Speaker 2: the way that creativity is to me, for like music
Speaker 2: and fulfilming, all those things that I spend way too
Speaker 2: many hours doing that. But this is the closest I've
Speaker 2: ever been to just.
Speaker 4: Like, yeah, I don't know. I mean, it is a
Speaker 4: big change, but you still manage to do everything pretty much,
Speaker 4: you know, you just have to be more efficient, like
Speaker 4: you have different priorities, I suppose, and I don't know.
Speaker 4: My daughter's thirty one now, like you never really stop
Speaker 4: worrying about your child. I have to say, yeah, that's difficult,
Speaker 4: you know.
Speaker 3: Thank you, I appreciate that.
Speaker 2: Yeah, do you remember the very first creative project that
Speaker 2: you've ever done in life?
Speaker 4: When I was in kindergarten, I went to this lab
Speaker 4: school at UCLA where you sort of learned by doing.
Speaker 4: And I mean in kindergarten, right, you don't do that much.
Speaker 4: But we made clay elephants, like I learned the system,
Speaker 4: like I was good with my hands, I guess, And
Speaker 4: then so I guess that was my first creative Then
Speaker 4: when I went to first grade, they had me go
Speaker 4: back and teach the kindergarteners how to do it.
Speaker 2: So obviously your love for visual arts was early in
Speaker 2: this sort.
Speaker 3: Of yeah informed, Yeah, it basically.
Speaker 4: Just sounds cliche, but yeah, I always just wanted to
Speaker 4: be an artist. Gotcha, I just fell into playing music.
Speaker 2: So all right, Well, for me, I you know, gun
Speaker 2: to my head, I probably would say I'm a DJ
Speaker 2: more than anything. And maybe I forged this career in
Speaker 2: a band so I could make money so I could
Speaker 2: buy more records to be a DJ.
Speaker 3: So but for you, you still you feel as though the.
Speaker 2: I don't know, like visual arts or tangible arts or
Speaker 2: that that's your true first love, like as a creator.
Speaker 4: Yeah, okay, I mean I kind of think of myself
Speaker 4: it's hard to explain, but as an artist first, like
Speaker 4: an artist who makes music or an artist who writes.
Speaker 3: Yeah, artists first.
Speaker 4: Yeah, yeah, I don't think of myself as just It's
Speaker 4: not exactly the same as just being a creative I
Speaker 4: just I think spatially in a way.
Speaker 2: What's the transferable creative talent that you have that the
Speaker 2: world doesn't know about? Like you play basketball? Are you
Speaker 2: a gamer? What's your cooking skills?
Speaker 4: Like? I don't know I am a good cook? I
Speaker 4: don't know. I just I think I have a good
Speaker 4: special sense.
Speaker 3: That's a talent in terms of like functional and energy
Speaker 3: in a room.
Speaker 4: And yeah, I think what I like about playing music
Speaker 4: in a way is like I was kind of wanted
Speaker 4: to be a dancer at what point in my life?
Speaker 4: And uh, I know, it's just there's a lot of
Speaker 4: moving around on the stage, you know, and like you
Speaker 4: have a sense of how you can bring something different
Speaker 4: to what would be an expected rock show or something
Speaker 4: by how you move and where you move and things
Speaker 4: like that.
Speaker 2: All right, So in your position in a band, an
Speaker 2: iconic band, who's your north star? As a bass player,
Speaker 2: who's in your mind? You're vicariously living through? Like I know,
Speaker 2: I see the flea effect now with kids, were like
Speaker 2: all of a sudden, you have a bunch of these
Speaker 2: balancy kind of I'm like, okay, I know what you
Speaker 2: grew up with.
Speaker 3: But for you, who was your north star?
Speaker 4: I actually liked a bass player of in DNA, this
Speaker 4: guy Tim Wright.
Speaker 3: Okay.
Speaker 4: He used to play in his socks and he kind
Speaker 4: of used a guitar like the way held he almost
Speaker 4: held it sideways.
Speaker 3: Okay, and he would turn it's a weapon turn a lot.
Speaker 5: Yeah.
Speaker 4: Okay, But I don't play bass so much anymore, like
Speaker 4: I've been. I haven't played bass since the last Sonic
Speaker 4: Youth gig.
Speaker 3: Okay, but what was that also.
Speaker 4: But he was he was. He definitely inspired me.
Speaker 3: Yeah, gotcha and Sid Vicious, right of course?
Speaker 2: Of course, what are the first three records that you
Speaker 2: remember purchasing?
Speaker 4: Well, there's it's probably like a Beatles single, okay, but
Speaker 4: I don't remember which one. Like I used to walk
Speaker 4: up to the record store I lived in West LA
Speaker 4: and you know, ask is what's it's the new single out?
Speaker 4: You know? Okay, it's a new Beatles single out.
Speaker 3: So Beatles forty five would.
Speaker 5: Be one of them.
Speaker 4: Yeah, I had a Roy Orbison single. I think pretty Women.
Speaker 4: I had a Rolling Stones record, okay, like the first one. Maybe.
Speaker 3: Well let me ask what three records that you own?
Speaker 3: Do you think that we would be shocked that you
Speaker 3: listen to Tusk?
Speaker 2: I remember the day that Tusk came out, and it
Speaker 2: was like a marching band song, right, like they used
Speaker 2: marching band drums in the title track.
Speaker 3: And it was a double album. I remember them, not
Speaker 3: like is it a triple It.
Speaker 2: Was a double album, but I remember them. It came
Speaker 2: out with I was nine, right, so I don't have
Speaker 2: like real time memories, but I remember them panning the
Speaker 2: shit out that record.
Speaker 4: So yeah, people hated that record.
Speaker 2: So do you gravitate towards what we're not supposed to?
Speaker 4: Like, Well, that's funny. I mean I didn't actually get
Speaker 4: into that record to like two thousand and nine.
Speaker 3: But did you get into it because everyone else didn't
Speaker 3: like it?
Speaker 4: Well, I don't know, Like it's funny. My friend Bill Nace,
Speaker 4: who have this guitar improvtu I would. I don't know
Speaker 4: whether he just found it like in our shelf and
Speaker 4: he started playing it. We both just became obsessed with
Speaker 4: it and listened to it endlessly, And I have to
Speaker 4: say it's like the worst cover art ever, right, which
Speaker 4: I think was super expensive and yeah, way over budget
Speaker 4: the whole thing. But I don't know, is something about
Speaker 4: that record it reminds me I need to go home
Speaker 4: and play I've heard it in a while now.
Speaker 2: For me, I think that I'm curious about departure records.
Speaker 2: When I first started teaching at NYU, I'm always interested
Speaker 2: in the psychological angle, Like Okay, sly Stone has.
Speaker 4: That's a great documentary. By the way, Oh thank you
Speaker 4: both of your documentaries.
Speaker 3: I appreciate it.
Speaker 2: Yeah, like Slide had such pop success with stand that,
Speaker 2: why does he do this dark ass record or why
Speaker 2: would Prince follow up Purple Range with Around the World
Speaker 2: on the Day? What did Fleetwood Macfield after the rise
Speaker 2: of rumors, like, you know, to not ruin it, but
Speaker 2: not say you're scared so that you know this departure,
Speaker 2: I'm in a backfire for the Beatles, like Sergeant Peppers
Speaker 2: was hey, let's do show tunes and timpan Alley and
Speaker 2: it backfired. Yeah, So I'm always curious that when a
Speaker 2: band gets to that place where they're so big, do
Speaker 2: they follow up?
Speaker 3: I know this is a weird take.
Speaker 2: I admire Michael Jackson for trying to even think that
Speaker 2: he could top thriller like, oh, forty million, I'm gonna
Speaker 2: try one hundred million, which, yes, the quantity.
Speaker 3: Of it all is what. I also feel.
Speaker 2: Michael Jackson away literally and air quotes, but I actually
Speaker 2: admire the balls for him to actually say, now, I'm
Speaker 2: not going to do the cover record, or let me
Speaker 2: do my jazz record or my Joni Mitchell FaZe like
Speaker 2: whatever that is.
Speaker 5: So that'd be interesting, right, What is your all time
Speaker 5: favorite food?
Speaker 4: I don't know, like I like so many so much.
Speaker 4: I like, like maybe sobaz Okay, you know, I love
Speaker 4: French food too, you know, actually soup to poison last night.
Speaker 4: It was delicious, okay, but I there was something about
Speaker 4: so much to me that's so kind of pure okay
Speaker 4: and delicious.
Speaker 3: Gotcha. What's the last thing that you made for yourself?
Speaker 4: It was not probably roast chicken?
Speaker 3: Okay. Yeah, So keeping with the fringe, fancy, what's your
Speaker 3: all time favorite cereal?
Speaker 4: Paleo Grinella him erewhon.
Speaker 3: Yeah, even the way you sold it to me was
Speaker 3: like cool?
Speaker 4: Really, I mean I don't really eat cereal?
Speaker 3: You educated Cereal? I get it.
Speaker 4: There's yeah, yeah, I don't know. I just I basically
Speaker 4: don't feel like I've eaten anything if I have a Cereal?
Speaker 3: Okay, that's a lot.
Speaker 2: What TV show best describes your childhood, oh man? Or
Speaker 2: what TV show did you ever fantasize being a part.
Speaker 4: Of I loved Mister ed Talking Horse?
Speaker 3: That was your favorite?
Speaker 4: It was one of my favorites. Yeah, that in seventy
Speaker 4: seven Sunset strip? When is that older?
Speaker 2: Like?
Speaker 4: In fact, I would drive down Sunset trying to find
Speaker 4: the spot where.
Speaker 3: The opening yeah the opening was?
Speaker 4: Yeah? Yeah, where's words? Kookie or whatever his name is?
Speaker 3: Got it?
Speaker 2: Do you binge watch anything on television now, like, have
Speaker 2: you adapted to streaming culture?
Speaker 4: Yes?
Speaker 3: I what's your favorite ure? Well?
Speaker 4: I really enjoyed Line of Duty.
Speaker 3: Okay, it's a.
Speaker 4: BBC cop show about police corruption. I like all those
Speaker 4: shows about police corruption and were.
Speaker 3: You a Wirehead?
Speaker 4: The Wire? I mean yeah, those those are the classic shows,
Speaker 4: you know, got It, Got the Wires? Maybe my all
Speaker 4: time favorite show, Gotcha?
Speaker 3: Yeah?
Speaker 2: In your childhood bedroom the posters ever adorn your wall?
Speaker 3: Who adorned your wall in your childhood bedroom?
Speaker 4: I think Dylan probably?
Speaker 3: Okay, yeah, what era Dylan are you most loyal to?
Speaker 4: Oh? Only the early stuff. I actually don't really like
Speaker 4: anything after nineteen seventy.
Speaker 2: All right, so you're you're not a self portrait. I
Speaker 2: came into Dylan weird. My parents became the way that,
Speaker 2: like Reagan's Christian America just washed over the black community.
Speaker 2: My introduction to Dylan was Christian Dylan.
Speaker 4: Oh wow, yeah, I don't even know if I know
Speaker 4: Christian Dylan.
Speaker 2: Oh god, yeah, Like to this day, I'm the only
Speaker 2: when I told him, like, when you're going to wake
Speaker 2: up like his on the yellow slow train coming like
Speaker 2: I told him that, and he just looked at me,
Speaker 2: like I'm so sorry, Wow, Well, yeah, I started with
Speaker 2: his three Christian awn period and I think what I
Speaker 2: think Infidels broke that in eighty three. But I always
Speaker 2: get into the wrong rock album for every band, Like
Speaker 2: you know, you asked eight year old me, I'll be like, yeah,
Speaker 2: man Satanam Majesty's requests, it's cool, right, was like yeah, no,
Speaker 2: But I just always as a cool cover. Yes, there
Speaker 2: you go, that's there, that's their one saving grace. But
Speaker 2: you know, as I got older, then, of course there
Speaker 2: were people that set me straight.
Speaker 3: But yeah, I picked.
Speaker 4: I had an older brother too. He sort of make
Speaker 4: fun of me, like you don't know what he's talking about. Really,
Speaker 4: it's like, who does know what Dylan was actually talk
Speaker 4: came about?
Speaker 3: Were you the family black Sheep in terms of like
Speaker 3: your tastes.
Speaker 4: And no, not at all.
Speaker 3: Oh they were. There were more that were.
Speaker 4: Well, my brother was super eccentric person who later became schizophrenic,
Speaker 4: but and he was always getting into trouble.
Speaker 3: Okay, So.
Speaker 4: I was a goody goody one.
Speaker 3: Do you remember the first concert you ever attended?
Speaker 4: Actually, the first concert I ever went to was in
Speaker 4: Hong Kong when I was living there, when I was twelve.
Speaker 4: It was Herman's Hermit's.
Speaker 3: On an army base or no, it was my dad.
Speaker 4: Was a professor ATLA and he took some students there
Speaker 4: to start a study program at the college Chinese University,
Speaker 4: and they came while we were there and played. Yeah,
Speaker 4: they did a concert.
Speaker 3: I now know that when you do worldwide like, people were.
Speaker 2: Somewhat different now, but yeah, I know that back then, like,
Speaker 2: concerts were very different in terms.
Speaker 4: Of I mean, I actually don't remember, okay very much.
Speaker 4: I remember like in the the hotel bars there that
Speaker 4: sort of pretty young Chinese girls would wear boufont dresses
Speaker 4: and play beetle covers.
Speaker 2: Okay, okay, So this is different than the first records
Speaker 2: you owned because CD culture came later. Do you remember
Speaker 2: the very first CD that you purchased?
Speaker 4: Ah? No, thank you. CDs are just like you know,
Speaker 4: they might have been things we blagged from the record
Speaker 4: label or something, you know, right.
Speaker 2: Oh yes, I was going to say, oh wait a minute,
Speaker 2: so I asked, we sad this question, So I got
Speaker 2: to ask you this question. Another main reason why there's
Speaker 2: so much reverence and respect for you guys is simply
Speaker 2: because of the insane amount of times that Sonic Youth
Speaker 2: Records have fed the roots in terms of okay, and
Speaker 2: but by you saying what you said, I know that
Speaker 2: this isn't just something that's unique to me, which is
Speaker 2: you always visit the record label, You go into the
Speaker 2: supply closet, you take all the CDs right, and then
Speaker 2: you go to the village and sell them the bleaker
Speaker 2: bobs and then you know, Weezer said that they too
Speaker 2: lived off of the Blue Album and Piggerton by selling
Speaker 2: their own CDs too.
Speaker 4: Oh that's funny. I mean we when we first signed
Speaker 4: to Geffen or we took a bunch of stuff like
Speaker 4: like the guns and roses, welcome mat It's like Madonna
Speaker 4: candles and.
Speaker 3: The shame. I felt like, hey, what's that over there?
Speaker 3: And like you like the pink panthers.
Speaker 2: Like us, you know, like the trench coat with three
Speaker 2: people stacked on top of each other, Like that's us.
Speaker 2: Like take your shit out of the studio just to
Speaker 2: get money on Fridays.
Speaker 3: Yeah, I'll say, ah, ecstasy, Sonic Youth.
Speaker 4: Just I can't believe that we influenced your decision to
Speaker 4: signed a gun.
Speaker 3: Well, you know, it's weird.
Speaker 2: I had a manager that so something happened like around
Speaker 2: ninety to ninety three where he realized that because of
Speaker 2: us being a band, that that opened more doors than
Speaker 2: like there was no hip hop whatsoever really in Philly
Speaker 2: except for like specialized what about Yeah, But he would
Speaker 2: have to play rap shows and we got like the
Speaker 2: last days of like Nirvana being the household secret, like
Speaker 2: they play j C. Dobbs maybe a month before we
Speaker 2: played j C.
Speaker 3: Dobbs.
Speaker 2: So I think that my manager figured out a way
Speaker 2: that by ninety three ninety four, certain hip hop groups
Speaker 2: could sort of fit on the alternative stages, so like
Speaker 2: us doing Lollapalooza or anything with Jay's Addiction or anything
Speaker 2: with like just that first, Like you guys are probably
Speaker 2: the only guys that we didn't open for, but pretty
Speaker 2: much a big.
Speaker 3: Part of our growing as a group.
Speaker 2: Number one, whenever Wu Tang would mess up, we'd be
Speaker 2: the band of the call, Hey Wu ta claim's not
Speaker 2: going to make it next week to da da Da
Speaker 2: da da ke you guys feeling, So that was like
Speaker 2: half of it, and then the other half would just
Speaker 2: be us being the open act, like like Cypress Hill
Speaker 2: and public Andomy really had to pay almost a tiny
Speaker 2: credibility price because the rule was rap groups should only
Speaker 2: be a rap shows only, and if you're not with
Speaker 2: if you're opening for you too, if you're selling out,
Speaker 2: like right, right, So those guys called major flack and
Speaker 2: then around ninety.
Speaker 3: Three like no one cared anymore. That's when we arrived
Speaker 3: and literally like oh interesting, right when the sea change happened.
Speaker 3: Have you ever gone karaoke? Never? You've never gone karaoke?
Speaker 2: No, Okay, to be fair, I've only been twice in
Speaker 2: my life, and I think both times we're in Japan.
Speaker 2: But I head scratched at people that love karaoke because
Speaker 2: it's like, I tell my perform for a living so
Speaker 2: and to me, the only enjoyable karaoke is when people
Speaker 2: sound horrible. So that would never happen, so you would
Speaker 2: never be course whatsoever.
Speaker 4: To Yeah, I did. I did a song, a cover
Speaker 4: song that way for Addicted to Love. You know, they
Speaker 4: just have these this booth on Saint Mark's Okay, So
Speaker 4: I went there and I did that. And it was
Speaker 4: when the band was in the studio making shit up
Speaker 4: for the Weddy album, right, And I was kind of
Speaker 4: not down with that because it was just three guys
Speaker 4: like wasting lime, gotcha? And then I took that and
Speaker 4: actually took it back to the studio. We sped it
Speaker 4: up a little, and then I went to Macy's and
Speaker 4: made a video because I used to have these for
Speaker 4: nineteen ninety nine. You could go in and yeah, it
Speaker 4: tell us my favorite video. Just so great to like
Speaker 4: walk out pay nineteen ninety nine and have a two
Speaker 4: camera shoot.
Speaker 3: Right. Okay, what song do you love that you think
Speaker 3: everybody hates? Of our songs or a vinye song creator?
Speaker 4: Jeez, that's a tough question.
Speaker 3: Okay, have you ever made a mixtape for someone?
Speaker 4: I did make a mixtape for some actor once.
Speaker 3: Okay, remember what was on it?
Speaker 4: Sorry?
Speaker 3: All right? If you were to make me a mixtape
Speaker 3: with three songs would have to be on it? Having
Speaker 3: not really known me, well, I.
Speaker 4: Guess I would put a Brigitte Fontaine our ensemble of
Speaker 4: I forget the name of the record, but.
Speaker 3: Have you of Chicago or yeah, I might own it.
Speaker 4: They did an improv session together, Okay, Okay, noy the
Speaker 4: Pink record?
Speaker 3: Okay?
Speaker 2: Can I ask what song has the power to make
Speaker 2: you cry no matter how many times you hear it?
Speaker 3: Instantly? Maybe?
Speaker 4: Uh, Cortes the Killer.
Speaker 3: What is it about it?
Speaker 4: No, yeah, I don't know. It's just like the melody.
Speaker 4: It's like what he hits this one, you know something?
Speaker 2: Okay, when this gives me to this day and I'm
Speaker 2: I'm mad that it's not as accessible. But the Philadelphia
Speaker 2: song that Neil Young sings, I know people know the
Speaker 2: Streets of Philadelphia by Springsteen for that soundtrack, but when
Speaker 2: the credits go up, Neil Young has I mean, you know,
Speaker 2: like he has a very heartbreaking sounding like sensitive voice.
Speaker 2: But Neil Young singing his version of Philadelphia that has
Speaker 2: nothing to do with the Springsteen version it is.
Speaker 3: It is like one of the most heartbreaking.
Speaker 4: I have to check it out.
Speaker 3: One time I had to make a funeral mix and
Speaker 3: I thought.
Speaker 2: We put me moody sass songs on there, and it
Speaker 2: came up and I realized I overdid it, so like
Speaker 2: me running back to the ipile.
Speaker 3: Like trying to turn something else on.
Speaker 2: Okay, So I feel like your Downtown scene you'r Hashtager
Speaker 2: quote Downtown scene is well for me. The neo soul
Speaker 2: scene was supposed to be where I don't know if
Speaker 2: I owned it. I did completely disown it. But for you,
Speaker 2: what's one of the biggest myths of the downtown scene
Speaker 2: that you always hear that never happened.
Speaker 4: Well, you know, in the eighties, especially early eighties, people
Speaker 4: from Europe always wanted to come and do articles about
Speaker 4: the crossover between the music scene and the art world,
Speaker 4: which kind of didn't exist. I mean, it did exist
Speaker 4: in the very early eighties, like during the kind of
Speaker 4: the height of No Way Fans, and there were a
Speaker 4: lot of young artists who you know, were drawn and
Speaker 4: kind of part of that scene. But then by the
Speaker 4: mid eighties they were kind of just into their careers,
Speaker 4: you know, our careers, and and it was so it
Speaker 4: wasn't really what people thought it was in terms of
Speaker 4: this mecha like it was super bleak in the eighties,
Speaker 4: you know. Also, but that part is kind of I
Speaker 4: guess I can be nostalgic about that a little bit.
Speaker 3: Who coined the term no wave and is that really truly?
Speaker 3: Is it possible?
Speaker 2: Like is it just rejecting the idea of a title
Speaker 2: or is it kind of like you know, in the
Speaker 2: filmmaking world, where you know, Dog one ninety five was
Speaker 2: supposed to be this like restrictive movement and whatnot, Like,
Speaker 2: were there rules to the.
Speaker 3: No Wave.
Speaker 4: Not really. I mean I think it was kind of
Speaker 4: I think it was kind of nihilistic actually, I mean
Speaker 4: I some people might disagree with me, but like when
Speaker 4: you know, punk was supposed to be this movement that
Speaker 4: kind of obviously different fractions, but that destroyed rock, which
Speaker 4: it didn't. It was three cord rock and roll. It
Speaker 4: was just anti corporate, you know, it was different lyrics
Speaker 4: and a different sensibility of of what music was supposed
Speaker 4: to be. But No Wave was actually really deconstructed rock,
Speaker 4: like you didn't necessarily have. There's a lot of dissonance
Speaker 4: and density, and it seems just peculiar to New York,
Speaker 4: although Japan was kind of parallel, and Japan they had
Speaker 4: art movements that came post to World War Two, right
Speaker 4: like no Theater and anyway, it was kind of a
Speaker 4: nihilistic attitude, and so it's kind of interesting that that
Speaker 4: was pretty much particular to New York. And maybe the
Speaker 4: influence of like free jazz and you know, other different
Speaker 4: sounds minimalist composition, you know, Lama Young and junk age
Speaker 4: and people like that. You know, I think that sort
Speaker 4: of contributed to it a bit. But it was also
Speaker 4: just a feeling of like, no, this is this song
Speaker 4: isn't going to have like a beginning of middle ement,
Speaker 4: And to me it was very free music and that's
Speaker 4: what inspired me to play music.
Speaker 3: Gotcha, are any of the.
Speaker 2: Rules that you placed on yourselves for that period still
Speaker 2: exists for you?
Speaker 4: Yeah? Kind of in that the main rule was not
Speaker 4: to really learn how to play music, which is kind
Speaker 4: of a technique in itself, I realize.
Speaker 2: Okay, let's take if I would say the biggest year
Speaker 2: for Noise in my opinion, especially I havn't worked at
Speaker 2: a record store that year, I would say eighty eight.
Speaker 2: Now it's not like I think there was a collective
Speaker 2: meeting being had by various genres of music, but really
Speaker 2: just this movement starts like how where are you guys
Speaker 2: that even in the black music world, Like what Public
Speaker 2: Enemy is about to start doing with this aggressive noise sound?
Speaker 2: Like for me, like the day that the first song
Speaker 2: that they experimented with in which they really tested the
Speaker 2: limits of like what the hell is that was when
Speaker 2: they released a Rebel without a Pause in the summer
Speaker 2: of eighty.
Speaker 3: Seven, and it changed my walk.
Speaker 2: I almost had a hints in asque disposition in the hood.
Speaker 3: Hey guys, how you doing? You know?
Speaker 2: And you hear this and it changes you. Yeah, and
Speaker 2: I realized, like, oh, this is my first soundtrack to
Speaker 2: teenage angst like whatever I feel. But in general, like
Speaker 2: what is the genesis of the embracing of dissonance?
Speaker 3: And just was there a political anger in the air?
Speaker 3: Were you all Yoko Ona fans? Did you discover free
Speaker 3: jazz and the sixties? Like what was it? I don't know.
Speaker 4: I mean, I think it was just a very gradual
Speaker 4: thing like we you know, like we were influenced by
Speaker 4: the NOA Evands, We were influenced by free jazz. We
Speaker 4: we were certainly into Public Enemy and kind of related
Speaker 4: to their music in terms of density. And you know,
Speaker 4: we were recording at the same studio they were. And
Speaker 4: this is Chum King No, it was Green Street, Green Street. Yeah, yeah, yeah.
Speaker 3: I was about to say, just what was it like
Speaker 3: recording at Green Street?
Speaker 4: Beg man, Well, it was kind of funny because this
Speaker 4: engineer we had had never done guitar music.
Speaker 3: Who's your engineer?
Speaker 4: His name was Nick son Sana.
Speaker 3: Oh, Nick, yeah, Professor Nick Sonsano.
Speaker 4: Okay, we were the first guitar band he ever recorded.
Speaker 4: And I don't know really what he thought, but it
Speaker 4: was basically I think he understood it in terms of layers,
Speaker 4: you know, of sound, just the way he would record
Speaker 4: with you know, Public Enemy or Yeah.
Speaker 3: Professor Nick was one of the when I taught at NYU.
Speaker 2: He's one of the co teachers also long like Nixon,
Speaker 2: Sono did the Public Enemy records, like all the Bomb
Speaker 2: Squad stuff, Sonic Youth, like all these New York institutional bands.
Speaker 2: And then Bob Power also taught there and he's doing
Speaker 2: a tropical quest in De la Soul and eventually di'angelo
Speaker 2: the roots that.
Speaker 3: Stuff and so.
Speaker 2: But Nick told me something mind blowing about just his
Speaker 2: lack of experience as an engineer during that time period.
Speaker 2: And he informed me that like we almost did no
Speaker 2: automation mixing on Public Enemy. All that stuff was pre done, wow,
Speaker 2: which if you know their music, you're like, well, this
Speaker 2: has to be a post thing, and it's like, no,
Speaker 2: we always did it right preven.
Speaker 3: But for you in that time period, was it just
Speaker 3: not knowing.
Speaker 2: There were rules or just like purposely like how many
Speaker 2: we shouldn't do that or can't do that? Conversations were had.
Speaker 4: I mean not many, you know, probably there were just
Speaker 4: discussions about well it shouldn't go into the red or
Speaker 4: too far or something.
Speaker 3: I'm not satisfied until it goes in the red.
Speaker 4: I don't know, like, uh, I'm not sure. Like he
Speaker 4: was just super like agreeable, you know, got it, and
Speaker 4: we would try you know, Lee would try things out
Speaker 4: that we knew wasn't kinda and about the record but whatever,
Speaker 4: you know, like some of it did, you know, But yeah,
Speaker 4: I do recall. I think it was that studio where yeah,
Speaker 4: there'd be a number of fans on the board during mixing,
Speaker 4: you know.
Speaker 3: Right, and then you're just figuring out.
Speaker 2: So at the time, are you saying that both bands
Speaker 2: were making like you were making Daydream Nation and in the.
Speaker 4: Other room they were in the the newer room, you know,
Speaker 4: the I think it was an automated board. Actually, yeah,
Speaker 4: some kind of.
Speaker 2: So did you guys old board did you realize that
Speaker 2: you had two Nation albums in common at the time
Speaker 2: when you were making a.
Speaker 4: Little bad I mean that's where like, you know, we
Speaker 4: did cool thing and I asked Chuck if he would
Speaker 4: come and do this like he did kind of the
Speaker 4: most cliche thing right, but it was perfect, you know. Okay,
Speaker 4: but I just also remember uh waiting waiting for play,
Speaker 4: if you know, everyone waiting for Flay to come and
Speaker 4: then for like days or something, and then eventually you'd
Speaker 4: hear like his floppy feet going down.
Speaker 2: I always wanted to know when the Geffen Records deal happened, like,
Speaker 2: was there ever.
Speaker 3: A worry of like being on a.
Speaker 2: Major at the time, like you guys being on there
Speaker 2: was the cool factor. It was just like, oh, it's Geffen.
Speaker 2: It's cool because that's where they land, so it can't
Speaker 2: be that bad. But at the time, there was no
Speaker 2: you know, you guys had Donna Summer and Elton John.
Speaker 4: Yeah, I mean there was you know, like friends of ours,
Speaker 4: like or not friends, but Peers Whoskerdoo had signed to
Speaker 4: a major and replacements, and I don't know, I guess
Speaker 4: we figured like we were just always frustrated at our
Speaker 4: lack of distribution, so we that's one reason why we
Speaker 4: did it, you know. And we were just like, well,
Speaker 4: we've been together for ten years, so if it doesn't work,
Speaker 4: fuck it. Yeah, okay, Yeah, And it was a struggle
Speaker 4: for sure.
Speaker 3: Okay.
Speaker 2: So one of the biggest misperceptions about my band is
Speaker 2: because credibility was a major key factor for us critical
Speaker 2: claim credibility. Yeah, there was also this sort of what
Speaker 2: I will say, a kind of a false narrative, which
Speaker 2: was basically that, oh, well, you guys don't care about success.
Speaker 2: Like they were always like, yeah, I like you guys
Speaker 2: because you know, you do what you want to do
Speaker 2: and the label supports what you want to do. And
Speaker 2: I wish I could make music like you guys do.
Speaker 2: And I'm like, well, it's not like we're sun raw.
Speaker 2: This is we don't know how to write a good course.
Speaker 2: So like no one told us that we should only
Speaker 2: write sixteen bar and an easy course.
Speaker 3: Like so it's almost like I.
Speaker 2: Didn't know how to write accessible music and so but
Speaker 2: we basically got tagged with like, oh, well, we like
Speaker 2: you guys because you don't care about success. Okay, So
Speaker 2: in eighty seven eighty eight, what does making it look
Speaker 2: like to you? Is it a this one job is
Speaker 2: all I need to do to live in this apartment
Speaker 2: and pay all these bills? Or were you fine with
Speaker 2: a life where Okay, I play my band and sometimes,
Speaker 2: like the amount of people I've interviewed here and didn't
Speaker 2: know that.
Speaker 3: You know, Millie Jackson's telling me that she would gig.
Speaker 2: On the weekends, but then she used to work in
Speaker 2: the garment district from and this is with like Platinum Records.
Speaker 3: Yeah, so for you.
Speaker 2: What does making it look like, especially when you're tagged
Speaker 2: with this credibility.
Speaker 4: But we kind of had part time jobs, or at
Speaker 4: least one of us did. But the thing is is
Speaker 4: that we were kind of smart in that we we
Speaker 4: had a separate English label that we licensed to as
Speaker 4: well as a label here, so we would get licensing
Speaker 4: money from that, and you know when we kind of
Speaker 4: somehow got a little more money each time to record
Speaker 4: it a better studio, which was would be Green Street.
Speaker 4: I guess it just kind of, you know, was such
Speaker 4: a gradual thing when we did sign TOGEF and I
Speaker 4: guess we got I don't know, like it was kind
Speaker 4: of it was a tough record because well, one thing,
Speaker 4: we did have some backlash, like Steve Albettie was like,
Speaker 4: you guys, you know, we didn't talk to see for
Speaker 4: a long time. But uh, but you know the thing
Speaker 4: was is that, yeah, we could do whatever we want,
Speaker 4: but it's not like they really promoted our They didn't
Speaker 4: give us a giant marketing budget either, but we were
Speaker 4: able to actually have our own record label, s YR,
Speaker 4: and put out vinyl and they actually never realized that
Speaker 4: we were making money off of that. Not a lot,
Speaker 4: but you know, it's like.
Speaker 3: Is it frustrating.
Speaker 2: Being in the Moses position where you know, the beginning
Speaker 2: it was good for us, like this particularly sucks? Well, no,
Speaker 2: you know, this particular act that's opening for you is like, Wow,
Speaker 2: you've done everything in the US.
Speaker 3: Cool.
Speaker 2: And then like next year, oh, they're a massive square garden. Okay, cool,
Speaker 2: and this next opening act that's after the seventh time,
Speaker 2: then my self esteem started to go down where it's
Speaker 2: just like ah, man, like I'm not saying why I
Speaker 2: used to joke back then, like I don't want to
Speaker 2: be Fishbone, Like I don't want to be the band
Speaker 2: so cool that just traffic directs everyone to go in
Speaker 2: the red carpet and then suddenly you're going on the
Speaker 2: Moses arc thing and you can't have that what we
Speaker 2: used to call a Bentley moment. My manager's like, yeah,
Speaker 2: you guys just never had a Bentley moment. You didn't fail,
Speaker 2: but you just in your mind this idea of you
Speaker 2: slow motion in clubs and you know, rap shit, we
Speaker 2: never have that. But for you guys, was a disappointed
Speaker 2: not saying disappointing that you didn't get that level of vccolade, right, Yeah,
Speaker 2: like to watch people that you influenced.
Speaker 4: Yeah, I mean not really. I mean Nirvana was such
Speaker 4: an anomaly. And also I think our path had just
Speaker 4: been so like kind of slow and steady, and it
Speaker 4: allowed us to do other things that we wanted to do.
Speaker 4: And it's a fame like that as a it's just
Speaker 4: a freaky thing, gotcha. It really just brings up so much.
Speaker 4: So maybe other people in the band were more frustrated.
Speaker 4: I don't know, but it's kind of like, you know,
Speaker 4: we had our niche and we kind of were able
Speaker 4: to have a living and you know, I just feel
Speaker 4: now like I'm so pessimistic about the music industry and
Speaker 4: streaming and it makes me not want to play music.
Speaker 3: You want to take your ball and go home?
Speaker 4: I do?
Speaker 3: I know? All right? Well can I Okay? So the
Speaker 3: thing is, I'm I feel.
Speaker 4: Like I'm working for Lucian Grange, you know, like I'm
Speaker 4: his boy.
Speaker 3: Weren't we always?
Speaker 4: I guess.
Speaker 3: Weren't we all?
Speaker 2: What this is leading to is as a member of
Speaker 2: rock and Wall of Fame and whatnot, like in terms
Speaker 2: of making sure that these pioneering bands also get there.
Speaker 3: Would that mean anything to you to this point to
Speaker 3: get that last like, does that mean anything?
Speaker 4: What rock and roll Hall of Fame? Yeah, I don't know.
Speaker 4: It seems kind of meaningless in a certain way, like
Speaker 4: it's sort of a popularity contrast, Like it's not it
Speaker 4: doesn't seem anymore to be about like people who had
Speaker 4: significant impact or now it's just like, oh, they sold
Speaker 4: a lot of records.
Speaker 2: I know, but I'm just saying, like what And I
Speaker 2: know it's a weird question, like will you allow yourself
Speaker 2: to really enjoy getting the flowers or just.
Speaker 4: Uh, I guess. I mean when I was nominated for Grammys,
Speaker 4: I was even saying that I was kind of like,
Speaker 4: I hate the Grammys. It's just this music industry thing
Speaker 4: that I've never paid attention to my whole life. And
Speaker 4: you know, I don't quite It's it's nothing I like
Speaker 4: about the music about music is the industry. But at
Speaker 4: the same time, I did feel it was kind of
Speaker 4: fun to be recognized, you know, outside of my ghetto whatever.
Speaker 2: Well, because I think what's happening now is that all
Speaker 2: that you influenced. Have you allowed yourself to see that
Speaker 2: the influence is real? And again I'm asking you as
Speaker 2: a person who eighty percent of the time an act
Speaker 2: comes up to me.
Speaker 3: And says, oh my god, you changed our lives and
Speaker 3: da da da da, and.
Speaker 2: Yeah, the pre therapy me would just basically like, well,
Speaker 2: if I was so important, then why am I playing?
Speaker 2: You know, Kalamazoo Michigan State Fair and da da da dah.
Speaker 2: Like there was a part where I actually let that
Speaker 2: get to me. But then there's also a part where
Speaker 2: I realized that I might evaded in my own kind
Speaker 2: of sabotaging if you even though I'm still going on
Speaker 2: the path to I don't know where it is I'm
Speaker 2: supposed to be going, but I'm just one.
Speaker 3: Day at a time.
Speaker 4: But You're gonna have a kid.
Speaker 3: That's the that's the that's the reward. Let me ask
Speaker 3: you these last few questions.
Speaker 2: So one, how hard is it to embrace a new
Speaker 2: pivot once you've established yourself in and sort of flag
Speaker 2: planet your legacy in one area, which of course is
Speaker 2: in sonic youth, like in walking away from all those
Speaker 2: things and it being.
Speaker 3: In your rear view mirror.
Speaker 2: And not being jaded and cynical, Like how do you
Speaker 2: embrace other pivots that you want to do? Like how
Speaker 2: do you view collaborations now? Because collaborations were a big
Speaker 2: part of that world you came from.
Speaker 4: I mean it's been fairly kind of easy in a
Speaker 4: way because you know, like I accidentally made a solo record,
Speaker 4: and then I made another and another.
Speaker 3: How do you accidentally a solo record?
Speaker 4: Well? I met justin raised and through his brother. Okay,
Speaker 4: Like we were sitting next to each other at a
Speaker 4: restaurant and we suddenly found ourselves.
Speaker 3: That's how it came to be.
Speaker 4: Yeah, this girl started talking about their sex lives and
Speaker 4: tables were really close together, and we all looked at
Speaker 4: each other and like I was with this friend of mine.
Speaker 4: I don't know, And then we just started talking and
Speaker 4: he was like, oh, my brother's a producer. He worked
Speaker 4: this guy Ferrara, and like I don't care, you know,
Speaker 4: like that's not my world, right, But then his brother
Speaker 4: dm me and he said he was working on this
Speaker 4: Lawrence roth Brune record and they were having to people
Speaker 4: come in and do vocals and he kept sending me stuff,
Speaker 4: and I finally he sent me something. I felt, Okay,
Speaker 4: I can could be interesting. I should be open.
Speaker 2: Right when you collaborate with people, are you one familiar
Speaker 2: with the worlds that they come from or is it
Speaker 2: just hey, let's see what happens.
Speaker 4: Well, I don't usually collaborate with people that much, and
Speaker 4: so what happened was I was pretty skeptical, actually, but
Speaker 4: I did these vocals and he he took the leftovers
Speaker 4: and he made this trashy drum beat to go with
Speaker 4: it and send it to me, and I was kind
Speaker 4: of like, oh wow, this is kind of cool, Like
Speaker 4: he really understands my sensibility. And so I went back
Speaker 4: and did more vocals and put some guitar har down
Speaker 4: and that song became Murdered Out okay. And then about
Speaker 4: six months later we just started working together and he
Speaker 4: Justin's wild, but I I he does come from like
Speaker 4: punk rock, East Coast roots, and he you know, you
Speaker 4: haven't seen New Sonic cute and blah blah blah anyway,
Speaker 4: so we just he kind of just gets my vocal style,
Speaker 4: and I know I can go in with anything and
Speaker 4: he'll make it into basically.
Speaker 2: You talk about how the Collective Project came to be
Speaker 2: in terms of, like it's kind of DNA into a
Speaker 2: world of hip hop that really sounds natural, Like it
Speaker 2: sounds awesome if I say so myself.
Speaker 4: Thanks. I mean, he and his brother do like hip
Speaker 4: hop's beats and stuff for people, his brother more than
Speaker 4: he does.
Speaker 3: Cherry.
Speaker 4: I'm not a natural singer, you know, so I have
Speaker 4: a limited range, and so I get really inspired and
Speaker 4: I use things like space and rhythm and articulation.
Speaker 3: You know.
Speaker 4: That's so I was. You know, I was really happy
Speaker 4: to actually work work the beats on it, and then
Speaker 4: I would add my dissonant stuff, which you don't really
Speaker 4: hear in hip hop so much when they turn the
Speaker 4: rockets like three chord, like power cards.
Speaker 3: Hip hop, the supermarket music.
Speaker 4: Now, yeah, but I guess now like people are listening
Speaker 4: to like Chewgazing, well, are you the influenced kind of
Speaker 4: putting a sampling a lot of that? Funny? It's funny enough.
Speaker 2: I'm going to ask you the question that I hate
Speaker 2: when people ask me this question. You could pass if not.
Speaker 2: Is there anyone new that you listen to now? Like
Speaker 2: I hope that one day you and Tyler the creator
Speaker 2: run across each other, like it's interesting.
Speaker 4: He's always saying he's that a little like Tyler in this.
Speaker 2: Yeah, I was going to say, like you, you and Tyler,
Speaker 2: I think that that that should be a that's a
Speaker 2: project that I can almost Yeah, you guys should work
Speaker 2: with each other.
Speaker 4: I'm open to that. I mean I'm always a little
Speaker 4: like skeptical of like, yeah, working with someone with a
Speaker 4: big name, you know, like I did something with model homes.
Speaker 4: You know, this guy's experimentally. Okay, two guys, Yeah, we
Speaker 4: made a single.
Speaker 3: I love that.
Speaker 2: Now Tyler is a big name, it's a paralleled universe,
Speaker 2: but his beginnings are very.
Speaker 3: Much like it's.
Speaker 2: It's the downtown scene, like literally a collective, just the
Speaker 2: West Coast hip hop version of whatever you want to
Speaker 2: call it, the Mumblecred movement or right right, his version
Speaker 2: of Dogma ninety five. Like, I believe that both of
Speaker 2: you have your roots almost in the same parallel universe.
Speaker 2: Can you tell me how you got involved in the
Speaker 2: Chronology of Water project with Christian Stewart.
Speaker 4: Yeah, just I mean I knew Kristen a little bit,
Speaker 4: and uh, she just came over asked me if I
Speaker 4: would do the small part in her film and explained
Speaker 4: what it was, send me the script, and it just
Speaker 4: seems you know, fun I mean, I like her a lot,
Speaker 4: immense respect for her, and she's very articulate about what
Speaker 4: she wants and you know she yeah, just super smart.
Speaker 2: Now I know that you've revisited your first memoir, Yes,
Speaker 2: Golden Band, Why did you find it necessary to update
Speaker 2: the story?
Speaker 4: Just the editor had the idea to put out a
Speaker 4: ten year anniversary. Got it of it so and asked
Speaker 4: if i'd write a new chapter?
Speaker 3: Got it?
Speaker 2: Yeah, how cathartic was the whole process of unluding what
Speaker 2: it felt like to be in the experience from your
Speaker 2: point of view?
Speaker 4: I liked, I mean, I like writing it. Sometimes I
Speaker 4: feel like it's the only way I know what I'm
Speaker 4: thinking is when I start writing and stuff comes out.
Speaker 3: Who's that? Got it?
Speaker 2: In closing, I'll ask you, what's the one thing that
Speaker 2: you hope that your peers say about you?
Speaker 4: I don't know that I'm funny, okay. I mean there's
Speaker 4: a lot of humor in especially the new record. And yeah,
Speaker 4: I think people think of me as like super serious.
Speaker 4: I feel like as I get older, I'm not as serious.
Speaker 2: What's the one thing that the press never says about
Speaker 2: you that you wish we knew about you?
Speaker 3: Is that you have a sense of humor. Yeah, I
Speaker 3: guess so well.
Speaker 2: I thank you for answering my crazy questions, and I
Speaker 2: thank you for everything that you represented. And I know
Speaker 2: that sometimes when you're in this position you feel like
Speaker 2: no one's paying attention, or from one person that looked
Speaker 2: at a Moses figure that ushered in a movement, I
Speaker 2: just want to say thank you for that, like I
Speaker 2: was paying attention, and I appreciate your your work and
Speaker 2: your artistry.
Speaker 4: Oh thanks, I appreciate that makes me happy.
Speaker 2: The very cool Kim Gordon on The Quest Love Show
Speaker 2: and I'll see you guys on the next Proground.
Speaker 4: Mutual to you a swell thank you.
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Speaker 1: quest Love Thompson. The executive producers are Sean g Brian
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