1 00:00:04,840 --> 00:00:09,959 Speaker 1: Hi, it's Steve Balton and welcome to In service of 2 00:00:10,640 --> 00:00:13,560 Speaker 1: this week, we have such a treat for you. I 3 00:00:13,600 --> 00:00:17,400 Speaker 1: sat down with the legendary Carlos Santana for a guided 4 00:00:17,400 --> 00:00:20,840 Speaker 1: tour through rock and roll history. Listen to Santana's stories 5 00:00:20,880 --> 00:00:24,799 Speaker 1: about Jimmy Hendrix, Miles Davis, Bill Graham, B. B. King, 6 00:00:25,200 --> 00:00:28,240 Speaker 1: and so much more. This is one of the shows 7 00:00:28,360 --> 00:00:30,120 Speaker 1: you will be riveted to and you do. 8 00:00:30,160 --> 00:00:48,800 Speaker 2: Not want to miss. Thanks so much, Well. 9 00:00:48,680 --> 00:00:50,720 Speaker 1: First off, thanks for being here. It's always so great 10 00:00:50,720 --> 00:00:52,960 Speaker 1: to see you. I mean, you know, it's really interesting 11 00:00:53,000 --> 00:00:56,160 Speaker 1: that both this record and the book take you on 12 00:00:56,240 --> 00:00:59,440 Speaker 1: the journey through your past, because last time we spoke actually, 13 00:00:59,480 --> 00:01:01,200 Speaker 1: come to think of it, it was for the documentary 14 00:01:01,840 --> 00:01:06,559 Speaker 1: for you. The record is particularly interesting to me because 15 00:01:06,600 --> 00:01:09,760 Speaker 1: when you put these pieces together from your career, you 16 00:01:09,840 --> 00:01:12,240 Speaker 1: get to see all these different things in a different way. 17 00:01:12,840 --> 00:01:13,039 Speaker 2: You know. 18 00:01:13,160 --> 00:01:15,880 Speaker 1: It's funny like you have songs on there with Michael Jackson, 19 00:01:15,920 --> 00:01:19,759 Speaker 1: Smoking Robinson, look at your friendship with Miles. Did these 20 00:01:19,760 --> 00:01:23,039 Speaker 1: songs sort of like do that change for you over 21 00:01:23,080 --> 00:01:26,080 Speaker 1: the years, because you know, you're a different person now 22 00:01:26,080 --> 00:01:27,120 Speaker 1: you've had this whole life. 23 00:01:29,160 --> 00:01:33,440 Speaker 3: Yes, it's such a blessing to be in a situation 24 00:01:34,000 --> 00:01:41,680 Speaker 3: where I'm ating to participate with Miles and Smoking Robinson 25 00:01:41,840 --> 00:01:48,480 Speaker 3: at Michael Jackson at my brother's home Run DMC, so 26 00:01:49,680 --> 00:01:53,120 Speaker 3: uh and my wife Sindy. You know, it's it's a 27 00:01:53,160 --> 00:02:01,040 Speaker 3: real blessing to be part of I quote, a big 28 00:02:01,160 --> 00:02:04,640 Speaker 3: rolodex and a big portfolio kind of thing, you know, 29 00:02:05,600 --> 00:02:08,959 Speaker 3: because since the beginning in Santana's never been a one 30 00:02:08,960 --> 00:02:14,120 Speaker 3: trick pony. You know, we like expand and expand in 31 00:02:14,200 --> 00:02:16,440 Speaker 3: that sand, you know, because of the cold trade. 32 00:02:18,400 --> 00:02:20,600 Speaker 1: Yeah. Well, you know it's interesting though, because what I 33 00:02:20,600 --> 00:02:23,560 Speaker 1: particularly love about it, it's a wonderful record, and the 34 00:02:23,720 --> 00:02:27,280 Speaker 1: guitar work on there is like stunning. But what's interesting 35 00:02:27,320 --> 00:02:30,800 Speaker 1: about it is, you know, again, when you're in the 36 00:02:30,840 --> 00:02:33,400 Speaker 1: midst of playing with Miles or maybe when you're working 37 00:02:33,440 --> 00:02:37,080 Speaker 1: with Michael Jackson or Darryl from Run DMC, you know, 38 00:02:37,360 --> 00:02:39,480 Speaker 1: they're just your friends. And now, of course you have 39 00:02:39,600 --> 00:02:42,880 Speaker 1: this history of looking at them and the perspective of like, 40 00:02:43,600 --> 00:02:46,920 Speaker 1: holy shit, they change the world. So does your view 41 00:02:46,960 --> 00:02:49,440 Speaker 1: on them change and does it also make you appreciate it? 42 00:02:49,520 --> 00:02:52,640 Speaker 1: Like being part of that history of getting to work with, 43 00:02:52,680 --> 00:02:55,080 Speaker 1: like I mean, Miles is one of the most influential 44 00:02:55,080 --> 00:02:57,480 Speaker 1: people in history. People called Michael the King of pop 45 00:02:57,919 --> 00:02:59,960 Speaker 1: and now you can look back on them with some dish, 46 00:03:00,240 --> 00:03:02,520 Speaker 1: because when you're doing it, you're just trying to get 47 00:03:02,520 --> 00:03:03,160 Speaker 1: the song right. 48 00:03:05,240 --> 00:03:07,160 Speaker 3: Just sort of compliment, you know. I learned a long 49 00:03:07,280 --> 00:03:11,200 Speaker 3: time ago in San Francisco because of Bill Graham. He 50 00:03:11,240 --> 00:03:15,040 Speaker 3: would create a situation at the Field World where if 51 00:03:15,080 --> 00:03:17,000 Speaker 3: you want to see the Grayful Dad, you gotta see 52 00:03:17,040 --> 00:03:19,760 Speaker 3: Miles Davis first. If you want to see Santana, you 53 00:03:19,840 --> 00:03:23,200 Speaker 3: gotta see Roland Kirk. So he created a situation for 54 00:03:23,320 --> 00:03:31,280 Speaker 3: the hippies that he exposed us as hippies to life 55 00:03:31,480 --> 00:03:36,560 Speaker 3: and music from all over the world, including soundbra you know, 56 00:03:36,880 --> 00:03:39,760 Speaker 3: and Willie Bogo and bock bo Is. I was like, bam, 57 00:03:39,760 --> 00:03:43,560 Speaker 3: you know all so we played Bill Graham Immensity for 58 00:03:44,800 --> 00:03:48,920 Speaker 3: Bill Brahm and Cloud Knobs from Montreux. You know, they 59 00:03:48,920 --> 00:03:53,680 Speaker 3: were supreme instrumental and helping musicians spread their ways of 60 00:03:53,840 --> 00:03:55,360 Speaker 3: creativity and imagination. 61 00:03:57,760 --> 00:04:00,160 Speaker 1: That's interesting said, Do you think that because you and 62 00:04:00,240 --> 00:04:02,400 Speaker 1: I have talked so much over the years about collaboration, 63 00:04:03,040 --> 00:04:06,000 Speaker 1: do you feel like your appreciation for collaboration came apart 64 00:04:06,000 --> 00:04:06,440 Speaker 1: from Bill. 65 00:04:07,840 --> 00:04:07,960 Speaker 2: Oh? 66 00:04:08,040 --> 00:04:11,400 Speaker 3: Yeah, because Bill, I learned to appreciate B the King, 67 00:04:12,320 --> 00:04:19,279 Speaker 3: Peter Peter Green, Michael Bloomfield and Willie Nelson, you know, 68 00:04:19,640 --> 00:04:23,320 Speaker 3: and and and one and one breath, you know, which 69 00:04:23,400 --> 00:04:28,440 Speaker 3: is like, uh, it was it as they call it now. 70 00:04:28,440 --> 00:04:33,680 Speaker 3: It was very organic, very natural, normal, and it opened 71 00:04:33,720 --> 00:04:37,760 Speaker 3: my ears and my heart too that I could learned 72 00:04:37,800 --> 00:04:42,239 Speaker 3: to articulate the language of sun Ra and Albert Eiler, 73 00:04:42,760 --> 00:04:46,320 Speaker 3: you know, and and at the same time with the 74 00:04:46,320 --> 00:04:49,800 Speaker 3: Grateful Dad and quin Silver and you know, uh and 75 00:04:49,920 --> 00:04:57,400 Speaker 3: Genius Choplin. Uh. Somehow I convinced myself to believe that 76 00:04:57,480 --> 00:04:59,160 Speaker 3: I belong in that stage with all of it. 77 00:05:01,080 --> 00:05:03,040 Speaker 1: Well, you did. But it's funny because I mean, as 78 00:05:03,080 --> 00:05:06,080 Speaker 1: a kid, you know, as a musician, of course, you're 79 00:05:06,080 --> 00:05:08,920 Speaker 1: always trying to prove yourself. You're always trying to better yourself. 80 00:05:09,320 --> 00:05:11,440 Speaker 1: Was there one moment for you where you sort of 81 00:05:11,480 --> 00:05:14,520 Speaker 1: had that epiphany of like, Okay, I can be up here. 82 00:05:14,520 --> 00:05:16,600 Speaker 1: Because I remember the first time I interviewed BB King, 83 00:05:16,640 --> 00:05:18,680 Speaker 1: I was scared shitless. He could not have been nicer, 84 00:05:19,000 --> 00:05:21,359 Speaker 1: but I was sear to say seventy one. I was like, 85 00:05:21,880 --> 00:05:24,000 Speaker 1: what are they going to be asking this legend that 86 00:05:24,040 --> 00:05:26,960 Speaker 1: he hasn't been asked one hundred and sixty eight times before. 87 00:05:27,760 --> 00:05:31,960 Speaker 3: I agree with you, BB King me coming from Tikwana, 88 00:05:32,360 --> 00:05:36,720 Speaker 3: BD King was the white whale. He was the ultimate, 89 00:05:37,360 --> 00:05:40,760 Speaker 3: you know for guitar players. You know, because I did 90 00:05:40,760 --> 00:05:43,920 Speaker 3: grew up with Jenley Booker, Lightning Hopkins and Jimmy Reed 91 00:05:44,400 --> 00:05:47,119 Speaker 3: by b. B King was on a whole other level. 92 00:05:47,720 --> 00:05:51,640 Speaker 3: And because I had discovered gob O Versavo or west 93 00:05:51,680 --> 00:05:54,120 Speaker 3: Legomer you get, you know, so BB King. 94 00:05:54,160 --> 00:05:54,880 Speaker 2: Was was it? 95 00:05:56,200 --> 00:06:01,080 Speaker 3: Therefore I joined Peter Green and Michael Bluefield with the love, 96 00:06:01,160 --> 00:06:04,920 Speaker 3: respect and nomination for BB King. And once I met 97 00:06:04,920 --> 00:06:09,039 Speaker 3: Baby King, he told me, he said Santana. I said, yes, sir. 98 00:06:09,120 --> 00:06:13,919 Speaker 3: He says, you don't only have a great sound, you 99 00:06:14,000 --> 00:06:18,200 Speaker 3: have a brand sound. I was like, whoa, thank you, BB. 100 00:06:18,360 --> 00:06:21,839 Speaker 3: You know, so I'm going to create a book about 101 00:06:21,920 --> 00:06:25,680 Speaker 3: validations because if I tell you what Miles said about me, 102 00:06:26,400 --> 00:06:29,880 Speaker 3: or what Jimmy said, like Jimmy, I met Jimmy and 103 00:06:30,000 --> 00:06:32,200 Speaker 3: he came and shoot my hand and he was Santana right. 104 00:06:32,240 --> 00:06:36,520 Speaker 3: I said, yes, he goes, I love your choice of notes. 105 00:06:37,279 --> 00:06:39,360 Speaker 3: Can you imagine hearing that from Jimmy Andrews to you? 106 00:06:39,960 --> 00:06:46,719 Speaker 3: I was like, paint you sir no, and with Mia 107 00:06:46,800 --> 00:06:49,600 Speaker 3: I said. Michel said to me, if he said I 108 00:06:49,720 --> 00:06:54,520 Speaker 3: was walking away from him, and his dephew said, Miles 109 00:06:54,640 --> 00:06:57,479 Speaker 3: said to me, if you were walking away, that's a 110 00:06:57,560 --> 00:07:00,800 Speaker 3: bad motherfucker there, you know. 111 00:07:01,240 --> 00:07:02,280 Speaker 2: So to be. 112 00:07:02,279 --> 00:07:05,080 Speaker 1: Validated just having Miles like you is enough. 113 00:07:05,960 --> 00:07:10,800 Speaker 3: Yeah, to be validated by Miles and way Shore and Herbie, 114 00:07:10,960 --> 00:07:14,080 Speaker 3: you know, and Donty Williams. I mean, I'm just really 115 00:07:14,360 --> 00:07:16,120 Speaker 3: grateful and this is a beautiful life. 116 00:07:16,480 --> 00:07:16,640 Speaker 2: You know. 117 00:07:17,280 --> 00:07:19,040 Speaker 1: Well it's funny do you see that now when you 118 00:07:19,080 --> 00:07:21,480 Speaker 1: put this book together, which is so beautiful. But it's 119 00:07:21,560 --> 00:07:24,400 Speaker 1: like because again, like we talked about the documentary, as 120 00:07:24,400 --> 00:07:26,800 Speaker 1: an artist, you're always looking ahead. So when you have 121 00:07:26,920 --> 00:07:30,760 Speaker 1: something like this where you know Jeff Tremarkin, who I've 122 00:07:30,800 --> 00:07:32,360 Speaker 1: known it for years and I think I'm at once 123 00:07:32,440 --> 00:07:36,440 Speaker 1: or twice great journalist, you know, you get to see 124 00:07:36,720 --> 00:07:40,000 Speaker 1: everything through someone else's eyes. So is it interesting to 125 00:07:40,040 --> 00:07:43,320 Speaker 1: you to look back and see like wow, like this 126 00:07:43,480 --> 00:07:45,640 Speaker 1: is so cool to look at this and this record 127 00:07:45,680 --> 00:07:48,880 Speaker 1: and you know, to appreciate everything in life, because again 128 00:07:48,920 --> 00:07:51,920 Speaker 1: it's funny, like you know, Rob Thomas, I've known for years, 129 00:07:52,440 --> 00:07:54,160 Speaker 1: and when you look at the sort of arc of 130 00:07:54,200 --> 00:07:58,760 Speaker 1: it to see the success of Smooth and everything in 131 00:07:58,840 --> 00:08:00,960 Speaker 1: the Grand scheme. It's kind of a little surprise. It's 132 00:08:01,000 --> 00:08:04,160 Speaker 1: like Aerosmith becoming this huge rock band in the eighties 133 00:08:04,200 --> 00:08:05,560 Speaker 1: based on MTV videos. 134 00:08:08,200 --> 00:08:13,440 Speaker 3: Yeah, I developed a peak appreciation to have a place 135 00:08:14,080 --> 00:08:16,680 Speaker 3: in the sun, in a place in the United States. 136 00:08:17,240 --> 00:08:20,200 Speaker 3: I came to America in sixty two, and the biggest 137 00:08:20,200 --> 00:08:24,560 Speaker 3: things back then were Royan Rogers and Willie Mays, you know, 138 00:08:25,280 --> 00:08:27,680 Speaker 3: and I was like, yeah, you know. But then all 139 00:08:27,720 --> 00:08:30,840 Speaker 3: of a sudden, I come to America and because with 140 00:08:30,880 --> 00:08:37,280 Speaker 3: Bill brand I discover consciousness revolution. In San Francisco, you go, 141 00:08:37,360 --> 00:08:39,760 Speaker 3: you go to this guy's house, the hippie house, and 142 00:08:39,800 --> 00:08:43,560 Speaker 3: they're playing Robbie Shall guard in John Coltrane, you know, 143 00:08:43,679 --> 00:08:47,320 Speaker 3: and they're playing the Doors and Jimmy Henders. You know. 144 00:08:47,960 --> 00:08:51,360 Speaker 3: So by going to people's houses, it was it was 145 00:08:51,400 --> 00:08:54,000 Speaker 3: to be with like being a university and you go 146 00:08:54,040 --> 00:08:59,439 Speaker 3: into a dormitory and everybody's room. You're learning something incredible 147 00:08:59,520 --> 00:09:04,359 Speaker 3: about artists. And so that iobil Graham in San Francisco 148 00:09:04,480 --> 00:09:04,840 Speaker 3: a lot. 149 00:09:07,000 --> 00:09:08,920 Speaker 1: And when you look back on his fuddies, they're like 150 00:09:09,440 --> 00:09:13,120 Speaker 1: those musicians that you know, maybe at the time too, 151 00:09:13,160 --> 00:09:14,960 Speaker 1: you're in the midst of things, and then you look 152 00:09:15,000 --> 00:09:18,160 Speaker 1: back and you're like, wow, that changed things for me, 153 00:09:18,800 --> 00:09:21,080 Speaker 1: you know, as like just a player, or as a 154 00:09:21,120 --> 00:09:24,240 Speaker 1: friend or as a fan. You mentioned the validation you got, 155 00:09:24,440 --> 00:09:26,360 Speaker 1: but I'm sure there are players that you can look 156 00:09:26,400 --> 00:09:29,520 Speaker 1: back and see, like, I learned so much from that person, 157 00:09:30,400 --> 00:09:32,520 Speaker 1: you know, and when you take it into this record again, 158 00:09:32,679 --> 00:09:34,959 Speaker 1: we can look at the fact that, like you've gotten 159 00:09:34,960 --> 00:09:38,040 Speaker 1: to work with so many different people, you know, is 160 00:09:38,080 --> 00:09:41,079 Speaker 1: there one person that you feel like you besides Bill 161 00:09:41,120 --> 00:09:44,760 Speaker 1: Graham one musician they really learned to develop an appreciation 162 00:09:44,840 --> 00:09:48,360 Speaker 1: for collaboration for Was there one musician, because like Miles, 163 00:09:48,760 --> 00:09:51,319 Speaker 1: you'll collaborate with so many people, but he had fucking 164 00:09:51,400 --> 00:09:52,160 Speaker 1: high standards. 165 00:09:52,160 --> 00:09:52,520 Speaker 2: Man. 166 00:09:52,960 --> 00:09:55,480 Speaker 3: Yeah, but that person was that month to bid asset 167 00:09:55,920 --> 00:10:00,679 Speaker 3: because our man assep uh maybe a where a tunci 168 00:10:01,280 --> 00:10:04,720 Speaker 3: which in olo tuni drums a passion and we did Jingo, 169 00:10:05,040 --> 00:10:07,560 Speaker 3: which is one of our first singles on the first album. 170 00:10:08,080 --> 00:10:13,640 Speaker 3: So the difference between Peter Green and Marvo Bloomfield and 171 00:10:13,840 --> 00:10:17,439 Speaker 3: Eric Clapton a lot of guitar players was the Santana 172 00:10:18,320 --> 00:10:24,319 Speaker 3: learned meticulously about old Tunji and Gino Puente reva Reto. 173 00:10:24,480 --> 00:10:28,400 Speaker 3: You know, and so I really learned to articulate. I 174 00:10:28,840 --> 00:10:32,600 Speaker 3: used to be called Caribbean music musica, then Caribe then 175 00:10:32,640 --> 00:10:35,160 Speaker 3: they call it salsa, but really what it is is 176 00:10:35,200 --> 00:10:39,960 Speaker 3: African music from all the islands Dasco. Santana learned different 177 00:10:39,960 --> 00:10:44,920 Speaker 3: Momo revato, you know. And because I didn't see Jared 178 00:10:44,960 --> 00:10:49,120 Speaker 3: Garcia listening to this music, Jared Garcia stock to Blue 179 00:10:49,160 --> 00:10:52,640 Speaker 3: Brass and what he listened to. So when I listened 180 00:10:52,679 --> 00:10:59,240 Speaker 3: to Reva reto and uh, it's Momo Santa Maria in 181 00:10:59,280 --> 00:11:04,200 Speaker 3: Motown with Conga's, you know, and then Bob Dylan, Uh, 182 00:11:05,040 --> 00:11:08,920 Speaker 3: Santana just became a whole lot of entity in the 183 00:11:08,920 --> 00:11:09,439 Speaker 3: Bay Area. 184 00:11:09,960 --> 00:11:10,160 Speaker 2: You know. 185 00:11:10,720 --> 00:11:17,920 Speaker 3: Uh, I wasn't Uh, I wasn't lagging all of a sudden, 186 00:11:17,920 --> 00:11:20,320 Speaker 3: I was right right in the in the front with 187 00:11:20,400 --> 00:11:25,080 Speaker 3: everybody as far as like overside of Santana Slidestone. 188 00:11:25,960 --> 00:11:26,160 Speaker 2: You know. 189 00:11:26,920 --> 00:11:32,120 Speaker 3: Uh, We're we're creating music. This going outside of San Francisco. 190 00:11:32,840 --> 00:11:36,680 Speaker 3: It's becoming global, you know. Uh, Santana one of the 191 00:11:36,880 --> 00:11:40,440 Speaker 3: was one of the first global bands. Because of my 192 00:11:40,520 --> 00:11:44,720 Speaker 3: association with bab King, Jeter Gwente and Olotuni and Coltring 193 00:11:44,800 --> 00:11:50,920 Speaker 3: and Miles Davis. All of a sudden, Santana became where 194 00:11:50,960 --> 00:11:53,240 Speaker 3: Bob Marley is what they call it third world? Uh 195 00:11:53,760 --> 00:11:55,520 Speaker 3: what do you call it? Third world music? 196 00:11:56,200 --> 00:11:56,400 Speaker 2: You know? 197 00:11:57,040 --> 00:12:00,320 Speaker 3: Uh? For me it was natural because I just love 198 00:12:01,280 --> 00:12:05,000 Speaker 3: African music and the rhythms and the colors and the melodies, 199 00:12:06,120 --> 00:12:09,720 Speaker 3: and so I learned that I could articulate this that's 200 00:12:09,720 --> 00:12:15,160 Speaker 3: the word. I could articulate and and understand this language. 201 00:12:15,559 --> 00:12:18,240 Speaker 3: So then when I play now with the Boris, which 202 00:12:18,280 --> 00:12:21,400 Speaker 3: is in Hungarian gypsy, you know, I grew up with 203 00:12:21,440 --> 00:12:26,480 Speaker 3: the Gypsies. Man. I grew up with Manita, Lata, Jack Radart, 204 00:12:27,280 --> 00:12:32,760 Speaker 3: the Borisa, Popular Lucia and Segobia. So when I learned, 205 00:12:32,800 --> 00:12:37,000 Speaker 3: like like George Harrison, we learned to expand ourselves, you know, 206 00:12:37,520 --> 00:12:41,240 Speaker 3: and listening to Robbie Shocker Dalia par Khan, all of 207 00:12:41,240 --> 00:12:49,840 Speaker 3: a sudden, our fingers became a lot more aware of 208 00:12:50,559 --> 00:12:52,400 Speaker 3: other dimensions of expression. 209 00:12:53,920 --> 00:12:56,160 Speaker 1: You're such a trendsetter, because it's funny you look at 210 00:12:56,160 --> 00:12:59,080 Speaker 1: things now where the world is so much smaller because 211 00:12:59,120 --> 00:13:01,680 Speaker 1: of the Internet and every thing. Do you think now, 212 00:13:01,840 --> 00:13:05,520 Speaker 1: like how funny it is that like fifty sixty years ago, 213 00:13:06,160 --> 00:13:09,000 Speaker 1: you were understanding global music in a way that people 214 00:13:09,120 --> 00:13:12,640 Speaker 1: are probably most other people that figure out so thirty 215 00:13:12,640 --> 00:13:13,720 Speaker 1: forty years later. 216 00:13:15,640 --> 00:13:19,360 Speaker 3: Yeah, you're right. But for me, I always had a 217 00:13:19,440 --> 00:13:23,600 Speaker 3: thirst thirst for adventure, and I wanted to, like like 218 00:13:23,679 --> 00:13:27,040 Speaker 3: way Shorter in Moths Data says, I wanted to dive 219 00:13:27,520 --> 00:13:32,960 Speaker 3: into the unknown, you know, and and learn how to 220 00:13:33,000 --> 00:13:38,120 Speaker 3: play with alt of either or John Coldprin or Alice 221 00:13:38,160 --> 00:13:42,480 Speaker 3: Coldprane or Tony Williams and Larry Young and John mcconklin. 222 00:13:43,440 --> 00:13:46,120 Speaker 3: I wanted to know what it's like to go from 223 00:13:46,200 --> 00:13:51,120 Speaker 3: Johny Hooker to John Coldpran, you know, in one bread 224 00:13:52,240 --> 00:13:56,280 Speaker 3: doom Doom Doom Doom doom doo and boom boo boom 225 00:13:56,360 --> 00:14:01,360 Speaker 3: boom boom, we do you know, literal together. And that's 226 00:14:01,360 --> 00:14:04,880 Speaker 3: what Myleson's doing and Way Short was do with Sanctuary. 227 00:14:05,320 --> 00:14:08,040 Speaker 3: You know, when he did Sanctuary and he played it live, 228 00:14:08,360 --> 00:14:10,400 Speaker 3: he put the boogie on it like Johnny Hooker. 229 00:14:11,040 --> 00:14:13,079 Speaker 2: Yeah, but. 230 00:14:15,080 --> 00:14:19,960 Speaker 3: Then got it out, you know, and I was like, yeah, 231 00:14:20,280 --> 00:14:22,640 Speaker 3: you know, so I realized that I wasn't the only 232 00:14:22,720 --> 00:14:30,880 Speaker 3: one there was experimenting with multi dimensional, multi dimensional cameras. 233 00:14:40,040 --> 00:14:43,240 Speaker 1: So interesting. I never thought about this until this conversation 234 00:14:43,280 --> 00:14:45,400 Speaker 1: as we're talking about it, but it's like you know, 235 00:14:45,440 --> 00:14:48,000 Speaker 1: you have the residency coming up in Vegas. We just 236 00:14:48,000 --> 00:14:50,840 Speaker 1: talked about the success of Smooth. You know, thirty years 237 00:14:50,840 --> 00:14:53,800 Speaker 1: after your career started. Do you think the fact that 238 00:14:53,880 --> 00:14:56,440 Speaker 1: you were on the global tip so far ahead of 239 00:14:56,480 --> 00:14:59,360 Speaker 1: everybody that people are now catching up and that's why 240 00:14:59,400 --> 00:15:03,760 Speaker 1: it's still so popular and successful because now people are 241 00:15:03,840 --> 00:15:07,400 Speaker 1: understanding like, okay, shit, you were doing this many years ago, 242 00:15:07,880 --> 00:15:09,840 Speaker 1: and now the rest of the world is so into it. 243 00:15:11,600 --> 00:15:13,480 Speaker 3: Like I said, it was natural for me because I 244 00:15:13,480 --> 00:15:16,000 Speaker 3: grew up at the Filmore the film was. I spent 245 00:15:16,080 --> 00:15:20,160 Speaker 3: more time at the Filmore the Mission High School, you know, 246 00:15:20,760 --> 00:15:23,160 Speaker 3: so Mission the Film was my alma Mada. 247 00:15:23,240 --> 00:15:23,440 Speaker 2: You know. 248 00:15:23,480 --> 00:15:27,160 Speaker 3: I go to see Cream and Arthur Brown, you know, 249 00:15:27,520 --> 00:15:31,560 Speaker 3: and everything that Bill Graham brought over there. I was 250 00:15:31,640 --> 00:15:33,640 Speaker 3: there and I used to tell them Bill, I don't 251 00:15:33,640 --> 00:15:35,440 Speaker 3: have any money too, but I gotta learn and you 252 00:15:35,440 --> 00:15:38,200 Speaker 3: gotta let me in. So I convinced him that, I said, 253 00:15:38,200 --> 00:15:40,080 Speaker 3: you know, I need to learn. The only way I'm 254 00:15:40,080 --> 00:15:42,760 Speaker 3: going to learn men is that you let me come 255 00:15:42,800 --> 00:15:45,520 Speaker 3: in and learn from them, you know. So he said, okay, 256 00:15:45,600 --> 00:15:47,320 Speaker 3: you know, you realized that I wasn't going to b 257 00:15:47,520 --> 00:15:50,960 Speaker 3: S and I was really coming to the Filmore to 258 00:15:51,160 --> 00:15:55,200 Speaker 3: like a sponge, take everything from The Who to Hollywood Wolf, 259 00:15:55,600 --> 00:15:58,760 Speaker 3: to Steve Miller to Chot Berry. I mean, I want 260 00:15:59,040 --> 00:16:01,400 Speaker 3: I was like a sponge. I'm still a sponge, you know. 261 00:16:02,120 --> 00:16:05,120 Speaker 3: And and then he saw that, he says, he says, 262 00:16:05,120 --> 00:16:07,680 Speaker 3: you know, I love this is too. Compliments. I got 263 00:16:07,680 --> 00:16:10,320 Speaker 3: two compliments, one from Bill Grant and one Clyde Davis. 264 00:16:10,800 --> 00:16:14,480 Speaker 3: Bill Grahma says, I love everyone. I love Michael Bloomfield, 265 00:16:14,480 --> 00:16:17,040 Speaker 3: I love Eric Clapton, I love Jimmy Hendrews says, but 266 00:16:17,200 --> 00:16:22,000 Speaker 3: you you're the perfect child of BB King and TiO Quende. 267 00:16:22,680 --> 00:16:25,720 Speaker 3: And I love saw some music, So I love I 268 00:16:25,760 --> 00:16:28,880 Speaker 3: love what you're playing. And Clyde Davis said to me, 269 00:16:29,960 --> 00:16:35,600 Speaker 3: you and Whitney Houston is my heart. What everybody else 270 00:16:35,720 --> 00:16:39,360 Speaker 3: is a job, But with you and Wynney Houston, it's 271 00:16:39,400 --> 00:16:41,200 Speaker 3: my heart. And I was like, oh my god. You know, 272 00:16:41,920 --> 00:16:44,360 Speaker 3: so I have hold those things very clear to my heart. 273 00:16:44,520 --> 00:16:48,000 Speaker 3: You know that someone like Clyde Davis and Bill Graham 274 00:16:48,840 --> 00:16:51,920 Speaker 3: would call me so endearingly and after their hearts. 275 00:16:53,200 --> 00:16:55,520 Speaker 1: All right, man, you probably maybe can't answer this question, 276 00:16:55,560 --> 00:16:56,960 Speaker 1: I know if you get it up. And now I'm 277 00:16:57,000 --> 00:17:00,120 Speaker 1: just curious as a music geek. Best show you ever saw. 278 00:17:01,480 --> 00:17:03,760 Speaker 3: Big show I ever saw was Jimmy Hendrix Vine in 279 00:17:03,840 --> 00:17:08,960 Speaker 3: Santa Clara Fairgrounds. I've seen Jimmy many times, but that 280 00:17:09,080 --> 00:17:15,679 Speaker 3: day he was beyond supernatural. He was beyond superlatives. I 281 00:17:15,760 --> 00:17:20,760 Speaker 3: never seen a human being. Stevie Ray got a little close, 282 00:17:21,680 --> 00:17:24,520 Speaker 3: but not quite. There was something about Jimmy Hendrix who 283 00:17:24,520 --> 00:17:27,880 Speaker 3: became I mean, you know, you're seeing the guy, You're 284 00:17:28,000 --> 00:17:32,119 Speaker 3: hearing the guy, and you can't believe it, you know, 285 00:17:32,800 --> 00:17:35,480 Speaker 3: because it's campus that day with Jimmy hender The way 286 00:17:35,520 --> 00:17:41,639 Speaker 3: he painted with that guitar, it was so galactic like Coltrane, 287 00:17:41,720 --> 00:17:44,879 Speaker 3: I love Spring, it was, it was. It was unbelievable. 288 00:17:44,960 --> 00:17:45,159 Speaker 2: You know. 289 00:17:45,720 --> 00:17:49,800 Speaker 3: I never heard him play better than that day, and 290 00:17:49,840 --> 00:17:52,440 Speaker 3: I heard him play a lot of times after that day, 291 00:17:52,800 --> 00:17:57,440 Speaker 3: but there was something extremely extreme that day, the way 292 00:17:57,480 --> 00:18:00,919 Speaker 3: he played. Of course we were all on ass it, 293 00:18:01,640 --> 00:18:04,480 Speaker 3: the audience, you know, and he was two, but he 294 00:18:04,560 --> 00:18:07,760 Speaker 3: took us do displays as far as they can take 295 00:18:07,840 --> 00:18:10,720 Speaker 3: us in the universe and the galaxy him back in 296 00:18:10,840 --> 00:18:14,160 Speaker 3: one breath, you know, and we were like, damn, who 297 00:18:14,280 --> 00:18:14,920 Speaker 3: is this guy? 298 00:18:15,040 --> 00:18:15,199 Speaker 2: You know? 299 00:18:17,960 --> 00:18:19,520 Speaker 1: You know that's so interesting as a player, because I've 300 00:18:19,520 --> 00:18:21,560 Speaker 1: talked to so many musicians about this, and you get 301 00:18:21,560 --> 00:18:24,400 Speaker 1: in the zone where your mind just goes and you're 302 00:18:24,480 --> 00:18:27,639 Speaker 1: free and for you can you look back and is 303 00:18:27,680 --> 00:18:30,400 Speaker 1: there one show or a moment or like one solo 304 00:18:30,520 --> 00:18:34,240 Speaker 1: where you're like, I don't even know who I was anymore? 305 00:18:34,480 --> 00:18:36,399 Speaker 1: Like Patti Smith, I'm a huge fan of and she 306 00:18:36,480 --> 00:18:39,040 Speaker 1: has said when I'm on stage on like half Perst 307 00:18:39,080 --> 00:18:41,960 Speaker 1: and half Animal, and you're like, when you get into 308 00:18:41,960 --> 00:18:44,240 Speaker 1: the group, you just started a zone and you're like 309 00:18:44,280 --> 00:18:46,880 Speaker 1: someplace else, and is there one show for you where 310 00:18:46,920 --> 00:18:48,840 Speaker 1: you can look back on that, like one with Jimmy 311 00:18:48,840 --> 00:18:52,600 Speaker 1: and just be like, man, I don't know what happened 312 00:18:52,640 --> 00:18:55,359 Speaker 1: that day, but God was just hanging out with me 313 00:18:55,560 --> 00:18:57,040 Speaker 1: and playing my guitar. 314 00:18:58,160 --> 00:19:01,240 Speaker 3: Yes, it was a I'm just kidding International. I played 315 00:19:01,280 --> 00:19:06,960 Speaker 3: with Ruben Bladdis, Nemo Brothers and Miles Davis in one day, 316 00:19:07,880 --> 00:19:11,960 Speaker 3: and each time I sat in with them, I didn't know. 317 00:19:12,040 --> 00:19:13,520 Speaker 3: I didn't know what I was doing. I mean it 318 00:19:13,880 --> 00:19:18,439 Speaker 3: just I became possessed. Something just took over me. And 319 00:19:18,480 --> 00:19:20,520 Speaker 3: when I listened, when I listened to the videos back, 320 00:19:20,600 --> 00:19:25,000 Speaker 3: I go damn. And my ex wife said, why don't 321 00:19:25,000 --> 00:19:28,399 Speaker 3: you play like that? All the time. And I said, Uh, 322 00:19:28,560 --> 00:19:30,159 Speaker 3: easy for you to say, I don't know what the 323 00:19:30,160 --> 00:19:32,560 Speaker 3: hell I'm doing. I'm just I'm just it's like you 324 00:19:32,640 --> 00:19:36,400 Speaker 3: hanging out to I said, Jim and in the tail 325 00:19:36,480 --> 00:19:39,000 Speaker 3: and I'm just going out to be her life. So 326 00:19:39,960 --> 00:19:42,840 Speaker 3: I missed the International I think it was. That was 327 00:19:42,840 --> 00:19:47,639 Speaker 3: the concert I played with Ruben Bladis and Fella Kunti 328 00:19:48,480 --> 00:19:52,240 Speaker 3: and the Uh and the Neville Brothers and Miles Davis 329 00:19:52,280 --> 00:19:53,040 Speaker 3: in one day. 330 00:19:55,760 --> 00:19:57,560 Speaker 1: Do you think it's interesting? Do you think it was 331 00:19:57,640 --> 00:20:00,440 Speaker 1: just the caliber of the musicians they you were trying 332 00:20:00,440 --> 00:20:03,200 Speaker 1: to rise up to them, or it was just that day, 333 00:20:03,320 --> 00:20:06,240 Speaker 1: Like I said, God was moving your fingers or the 334 00:20:06,400 --> 00:20:08,000 Speaker 1: universe or whatever you want to call it. 335 00:20:08,920 --> 00:20:12,240 Speaker 3: Well, first of all, that day I flew from Australia 336 00:20:13,280 --> 00:20:17,239 Speaker 3: to Honolulu, from Honolulu to San Francisco, and from San 337 00:20:17,240 --> 00:20:20,879 Speaker 3: Francisco to New Jersey and then I made and so 338 00:20:20,960 --> 00:20:25,040 Speaker 3: I had no idea what zone I was in. You know, 339 00:20:25,480 --> 00:20:29,360 Speaker 3: my body was like my body just said forget it, 340 00:20:29,440 --> 00:20:31,679 Speaker 3: you know, my body just gave up. My mind was 341 00:20:31,760 --> 00:20:33,959 Speaker 3: like like a blank canvas. 342 00:20:34,240 --> 00:20:34,439 Speaker 2: You know. 343 00:20:34,960 --> 00:20:38,159 Speaker 3: I was so I wouldn't even say fatigue or tired, 344 00:20:38,640 --> 00:20:41,800 Speaker 3: but I was so out of my body. I mean again. 345 00:20:42,040 --> 00:20:45,720 Speaker 3: I flew from Australia to Honolulu, Honolulu to San Francisco, 346 00:20:46,000 --> 00:20:48,159 Speaker 3: San Francisco to New Jersey and then I went on 347 00:20:48,280 --> 00:20:53,120 Speaker 3: stage and played and I was like wow. So when 348 00:20:53,160 --> 00:20:56,080 Speaker 3: I heard it and I saw the video, and again 349 00:20:56,920 --> 00:21:00,320 Speaker 3: when you see Santia, I played the wood start soon 350 00:21:00,359 --> 00:21:03,880 Speaker 3: as you start playing sol sacrifice, the whole audience rice 351 00:21:04,000 --> 00:21:07,280 Speaker 3: us after their feet. Now you got a picture this minute. 352 00:21:07,480 --> 00:21:10,480 Speaker 3: Santana's never been hurt before. On the radio, there was 353 00:21:11,000 --> 00:21:15,119 Speaker 3: no Santana, but we got people up like Slicestone a 354 00:21:15,160 --> 00:21:19,920 Speaker 3: Jimmy Hendris. Same thing happened at this concert with the 355 00:21:20,000 --> 00:21:23,639 Speaker 3: Naval Brothers, Ruby Blade in My Old Lady and just 356 00:21:24,000 --> 00:21:26,320 Speaker 3: something about my energy just went up. 357 00:21:28,480 --> 00:21:30,840 Speaker 1: That's awesome. Well, we're not gonna have a ton of time. 358 00:21:30,880 --> 00:21:33,600 Speaker 1: And there's so much to ask you about the name 359 00:21:33,600 --> 00:21:36,239 Speaker 1: of the podcast that didn't service up, and it was 360 00:21:36,400 --> 00:21:39,000 Speaker 1: it's all about giving back, which I know is something 361 00:21:39,040 --> 00:21:42,120 Speaker 1: amazingly important to you. So talk about how giving back 362 00:21:42,160 --> 00:21:44,680 Speaker 1: has inspired your work and your music over the years. 363 00:21:44,720 --> 00:21:48,040 Speaker 1: And giving back is such a broad thing as a musician, because, 364 00:21:48,080 --> 00:21:50,160 Speaker 1: like you say, when you're playing an amnesty with their 365 00:21:50,680 --> 00:21:53,560 Speaker 1: you know, with those great musicians. You are lifting a 366 00:21:53,680 --> 00:21:56,960 Speaker 1: crowd and you're inspiring them and you're motivating them. That's 367 00:21:56,960 --> 00:21:59,080 Speaker 1: a giving back, you know, and of course you get 368 00:21:59,119 --> 00:22:02,520 Speaker 1: back so much through philanthropy as well. So talk about, 369 00:22:02,640 --> 00:22:04,320 Speaker 1: you know, how this is important to you and how 370 00:22:04,320 --> 00:22:05,879 Speaker 1: it's motivated you over the years. 371 00:22:07,400 --> 00:22:09,879 Speaker 3: So I learned from the Lord's pot and says that 372 00:22:10,000 --> 00:22:13,120 Speaker 3: jold Is. I learned from Margo Luther King, I learned 373 00:22:13,119 --> 00:22:16,639 Speaker 3: from Maala Theresa. One of the greatest compliments that I 374 00:22:16,720 --> 00:22:20,240 Speaker 3: ever received was from Morti Gande. This we've played in 375 00:22:20,840 --> 00:22:24,960 Speaker 3: Montrox Cloud Nounced. We played with a lot of African 376 00:22:25,040 --> 00:22:27,760 Speaker 3: decisions and at the end of the concert, he came 377 00:22:27,800 --> 00:22:30,399 Speaker 3: to my dressing group and he started speaking in African 378 00:22:30,560 --> 00:22:32,240 Speaker 3: and I don't know what he was saying. To the 379 00:22:32,280 --> 00:22:35,440 Speaker 3: translator says, I'm going to translate what he's saying to you. 380 00:22:35,960 --> 00:22:41,479 Speaker 3: He said, Santana, your belly is fool, but you're hungry 381 00:22:41,520 --> 00:22:45,480 Speaker 3: to feed the people. And I was like, wow, you know, 382 00:22:46,000 --> 00:22:48,200 Speaker 3: I never heard anybody give you a compliment like that. 383 00:22:48,440 --> 00:22:51,600 Speaker 3: Your billy is fool, but you're hungry to feed the people. 384 00:22:52,119 --> 00:22:55,960 Speaker 3: You know that, Just like wow, thank you. 385 00:23:06,320 --> 00:23:08,040 Speaker 1: So talk about how you found the people over the 386 00:23:08,119 --> 00:23:10,480 Speaker 1: years something that like that the greatest moments for you 387 00:23:10,520 --> 00:23:12,320 Speaker 1: of doing that, because like I said, you do that 388 00:23:12,400 --> 00:23:14,800 Speaker 1: both musically and through different work you do. 389 00:23:16,880 --> 00:23:20,640 Speaker 3: I have been aware more than ever that I came 390 00:23:20,640 --> 00:23:25,800 Speaker 3: to this planet to remind the individuals, every single person, 391 00:23:26,680 --> 00:23:31,119 Speaker 3: you are worthy. God loves you, cherishes you. Look in 392 00:23:31,160 --> 00:23:34,439 Speaker 3: the mirror and say, God loves me. He believes in me, 393 00:23:34,560 --> 00:23:37,520 Speaker 3: and He's proud of me. And I am number one 394 00:23:38,640 --> 00:23:41,520 Speaker 3: in God's heart. Everyone is number one in God's heart. 395 00:23:41,560 --> 00:23:44,960 Speaker 3: So Santana's messages, everyone is number one in God's heart. 396 00:23:45,280 --> 00:23:48,280 Speaker 3: God made the world round so we can all have 397 00:23:48,440 --> 00:23:53,480 Speaker 3: center stage. God made a circle so vast that no 398 00:23:53,520 --> 00:23:57,080 Speaker 3: one can stand us outside, you know, And that's missed 399 00:23:57,080 --> 00:24:00,199 Speaker 3: it the Santana briefs where we played and I can 400 00:24:00,240 --> 00:24:03,840 Speaker 3: kill whether the acts of Eric Clapp or Jimmy Page 401 00:24:04,160 --> 00:24:07,000 Speaker 3: or anybody, when we've played, they see the hearers play, 402 00:24:07,720 --> 00:24:11,040 Speaker 3: they know that we're bringing that goodness. You know, it's 403 00:24:11,080 --> 00:24:15,240 Speaker 3: not American music anymore, and it's not you know, British 404 00:24:15,320 --> 00:24:21,360 Speaker 3: music anymore. It's it's it's like a tsunami wave of 405 00:24:21,440 --> 00:24:25,280 Speaker 3: light and love. Well, what do you want. 406 00:24:25,160 --> 00:24:26,600 Speaker 1: People to take from the book when they read it, 407 00:24:26,600 --> 00:24:28,880 Speaker 1: because I think it's so cool to do a project 408 00:24:28,920 --> 00:24:31,560 Speaker 1: like this, and you have so much in there. So 409 00:24:31,760 --> 00:24:33,679 Speaker 1: for you, what do you take from it when you 410 00:24:33,720 --> 00:24:36,480 Speaker 1: read it? And what do you hope others take from 411 00:24:36,520 --> 00:24:39,640 Speaker 1: your experiences? Because, as you say, you came to America 412 00:24:39,640 --> 00:24:42,200 Speaker 1: in sixty two, you know you've had such an You've 413 00:24:42,200 --> 00:24:46,840 Speaker 1: been around everybody, and you've achieved so much. But you 414 00:24:46,880 --> 00:24:50,560 Speaker 1: know through all of that, you've always kept centered and 415 00:24:50,640 --> 00:24:53,280 Speaker 1: kept your sense of love and humility. So what do 416 00:24:53,359 --> 00:24:54,520 Speaker 1: you hope others take from this? 417 00:24:55,800 --> 00:24:57,840 Speaker 3: I hope they think how much I love my mother 418 00:24:57,960 --> 00:25:05,159 Speaker 3: and my father. My mother was a supreme architect. She 419 00:25:05,240 --> 00:25:08,439 Speaker 3: got us at an outlami standing little town. Then we 420 00:25:08,480 --> 00:25:11,320 Speaker 3: went to Tijuana. Everybody told her she was crazy. And 421 00:25:11,359 --> 00:25:14,600 Speaker 3: then from Tijuana she brought us to San Francisco. And 422 00:25:14,680 --> 00:25:18,520 Speaker 3: because of my mother, I was able to leave Tijuana. 423 00:25:19,040 --> 00:25:22,119 Speaker 3: Was I thought I was gonna die in Tijuana, you know, 424 00:25:22,160 --> 00:25:25,359 Speaker 3: because I love Tijuana so much, playing in this nightclub, 425 00:25:27,040 --> 00:25:29,639 Speaker 3: and I didn't see myself coming to junior high school 426 00:25:29,960 --> 00:25:32,480 Speaker 3: and starting all over and hanging around kids, you know, 427 00:25:32,480 --> 00:25:36,440 Speaker 3: because I was hanging around strippers and grown up people 428 00:25:36,440 --> 00:25:38,840 Speaker 3: and smoking weed and all kind of stuff, and to 429 00:25:38,920 --> 00:25:42,000 Speaker 3: go back to junior high school and hanging around kids 430 00:25:42,320 --> 00:25:44,960 Speaker 3: talking about what are you gonna do tonight? Oh, I'm 431 00:25:44,960 --> 00:25:47,399 Speaker 3: gonna go steal a car and enjoy ride. I'm like 432 00:25:47,840 --> 00:25:51,240 Speaker 3: that she is sounded boring, you know. I'd rather go 433 00:25:51,280 --> 00:25:53,600 Speaker 3: to the film where and hang around Bobby Blue Bland 434 00:25:53,600 --> 00:25:55,679 Speaker 3: and Rage House and Bide King or something, you know. 435 00:25:56,280 --> 00:26:00,320 Speaker 3: So anyway, coming to America because of my mother, that 436 00:26:00,480 --> 00:26:06,080 Speaker 3: baby or where that Especially one day we went to 437 00:26:06,240 --> 00:26:10,639 Speaker 3: this picnic in Santa sing in the park and when 438 00:26:10,680 --> 00:26:12,679 Speaker 3: I got out of the car, I heard all this 439 00:26:12,840 --> 00:26:15,240 Speaker 3: music at the same time coming at me. It was 440 00:26:15,320 --> 00:26:22,359 Speaker 3: Mariacci music, Latin music, uh, you know, I like Puerto 441 00:26:22,400 --> 00:26:26,760 Speaker 3: Rican Cuban music, and some surfers playing rock and roll 442 00:26:27,200 --> 00:26:29,480 Speaker 3: all at the same time. It's like a big sandwich 443 00:26:29,760 --> 00:26:35,240 Speaker 3: sound common at me, you know. And I said, oh, okay. 444 00:26:35,800 --> 00:26:39,760 Speaker 3: So then I combined, you know, this music with that music. 445 00:26:39,880 --> 00:26:42,680 Speaker 3: I put it all together. And that's what Santana is, 446 00:26:43,200 --> 00:26:45,200 Speaker 3: you know, because see, at that time, the biggest thing 447 00:26:45,560 --> 00:26:49,159 Speaker 3: also was Sam de Shamin de Ferres with Willie Bully, 448 00:26:49,680 --> 00:26:55,199 Speaker 3: you know, and and uh and and Paul Bottomfield and cream. 449 00:26:55,480 --> 00:26:58,000 Speaker 3: So I just I just grabbed all of it, you know, 450 00:26:58,160 --> 00:27:01,399 Speaker 3: like this, and when I played my guitar, all of 451 00:27:01,480 --> 00:27:07,280 Speaker 3: a sudden, Santiaa could fit with Creta's clear Water. It's 452 00:27:07,280 --> 00:27:11,680 Speaker 3: step of the Wolf and sly and we held our own, 453 00:27:11,840 --> 00:27:16,439 Speaker 3: you know. I mean, it's quite an adventure, you know, 454 00:27:16,520 --> 00:27:19,680 Speaker 3: to come to America and believe that you can actually 455 00:27:20,880 --> 00:27:23,800 Speaker 3: belong on stage with them, you know. 456 00:27:24,840 --> 00:27:26,679 Speaker 1: Well, you know what's so interesting is for you to 457 00:27:26,720 --> 00:27:29,440 Speaker 1: say it's quite an eventually come to America and believe 458 00:27:29,520 --> 00:27:32,480 Speaker 1: you can belong, and you're talking about musically and then 459 00:27:33,200 --> 00:27:37,200 Speaker 1: but you know, the irony of that is not lost 460 00:27:37,240 --> 00:27:39,520 Speaker 1: on me. And the fact that we're so fucked as 461 00:27:39,520 --> 00:27:42,080 Speaker 1: a country in twenty twenty five. So for people to 462 00:27:42,160 --> 00:27:44,600 Speaker 1: hear that now, to believe that you can come to 463 00:27:44,640 --> 00:27:47,919 Speaker 1: America and belong, it's funny because you mean something so different, 464 00:27:48,200 --> 00:27:50,360 Speaker 1: But it's such an important message today. 465 00:27:52,280 --> 00:27:55,200 Speaker 3: Well, yeah, because a lot of people in America are framed. 466 00:27:55,520 --> 00:27:58,479 Speaker 3: They have a superiority and in priority conflex and they 467 00:27:58,520 --> 00:28:01,280 Speaker 3: want to put this border. You know, see the border 468 00:28:01,400 --> 00:28:02,920 Speaker 3: is in the mine already. You don't even have to 469 00:28:02,960 --> 00:28:05,520 Speaker 3: build a wall. The walls already in the mine. You know, 470 00:28:06,800 --> 00:28:09,320 Speaker 3: we need one another We need people who to come 471 00:28:09,359 --> 00:28:13,280 Speaker 3: to America to pick up the food because a lot 472 00:28:13,320 --> 00:28:17,120 Speaker 3: of Italians and Irish people and even black people, they're 473 00:28:17,119 --> 00:28:18,840 Speaker 3: not going to pick up the food at those prices 474 00:28:18,840 --> 00:28:22,280 Speaker 3: and in the heat and the sun, you know. So 475 00:28:22,359 --> 00:28:27,160 Speaker 3: we need Mexicans and Nicaragua, Costa Rica, Filipinos. We need 476 00:28:27,200 --> 00:28:30,080 Speaker 3: these people to come to America and pick up the 477 00:28:30,119 --> 00:28:35,800 Speaker 3: food that we're going to eat. And so for me, 478 00:28:35,960 --> 00:28:37,680 Speaker 3: this was this is the this is the best part 479 00:28:37,680 --> 00:28:40,760 Speaker 3: of this interview. I learned that we are one family. 480 00:28:41,240 --> 00:28:41,440 Speaker 2: You know. 481 00:28:41,960 --> 00:28:45,400 Speaker 3: I don't believe in patriotism. I don't believe in nationalities. 482 00:28:45,760 --> 00:28:49,000 Speaker 3: That's notuff. It's prehistoric and it's bullshit to me, you know, 483 00:28:49,560 --> 00:28:52,280 Speaker 3: to me, it is one family. I already went through 484 00:28:52,280 --> 00:28:55,959 Speaker 3: the moon, and when I'm a space capsule out there, 485 00:28:56,080 --> 00:28:59,160 Speaker 3: I get to see the Earth and we're all one family, 486 00:29:00,280 --> 00:29:03,320 Speaker 3: you know. And so that's what's easy for me to 487 00:29:03,640 --> 00:29:07,320 Speaker 3: be to see that I belong in our stage in 488 00:29:07,400 --> 00:29:13,160 Speaker 3: Ireland playing old Danny boy, you know, and I could 489 00:29:13,200 --> 00:29:17,000 Speaker 3: be in the South playing you know, uh whatever with 490 00:29:17,200 --> 00:29:19,520 Speaker 3: the Olwen brothers and and this and that. You know, 491 00:29:20,320 --> 00:29:22,640 Speaker 3: I don't have any fear men to play with anybody. 492 00:29:23,280 --> 00:29:26,680 Speaker 3: You know because I wake up the compliment. You know, 493 00:29:27,040 --> 00:29:30,640 Speaker 3: I will not selute anything except the highest good for 494 00:29:30,840 --> 00:29:34,640 Speaker 3: old people, live, people in the planet. That is my 495 00:29:34,760 --> 00:29:38,720 Speaker 3: flat life. People in the planet that is my flat, 496 00:29:38,800 --> 00:29:42,600 Speaker 3: that is my family. Anything else that's a corrupt corporation business, 497 00:29:42,720 --> 00:29:45,640 Speaker 3: and I don't follow that. 498 00:29:45,640 --> 00:29:47,840 Speaker 1: That's such a great wrap up note. Is there anything 499 00:29:47,880 --> 00:29:49,680 Speaker 1: you want to add that I did not ask you about? 500 00:29:51,480 --> 00:29:54,760 Speaker 3: No, just thinking for it allow me to express uh, 501 00:29:55,160 --> 00:29:58,440 Speaker 3: my centeredness, you know, deep in my heart and my center. 502 00:29:59,600 --> 00:30:02,120 Speaker 3: That's I bring. I want to bring for everybody, be 503 00:30:02,360 --> 00:30:08,240 Speaker 3: free from the trapmans of entanglement trappings. Did you you 504 00:30:08,680 --> 00:30:11,280 Speaker 3: you know when I go to the zoo, I am 505 00:30:11,360 --> 00:30:14,240 Speaker 3: all the animals, not just the penguin. You know, I 506 00:30:14,280 --> 00:30:17,040 Speaker 3: am the tiger, the lion, you know, the giraffe, the buffalo, 507 00:30:17,240 --> 00:30:20,960 Speaker 3: you know, the egos. That's who I am. Santana is 508 00:30:21,400 --> 00:30:25,520 Speaker 3: is a multi dimensional saying. With astrology, people say what 509 00:30:25,680 --> 00:30:27,960 Speaker 3: is your sign? I go all of them and none 510 00:30:27,960 --> 00:30:30,560 Speaker 3: of them, you know, because I don't allow anything to 511 00:30:30,640 --> 00:30:33,200 Speaker 3: tell me what kind of day I'm going to have. 512 00:30:35,320 --> 00:30:36,960 Speaker 3: I decide what kind of day I'm going to have 513 00:30:37,520 --> 00:30:40,719 Speaker 3: because I'm connected with God's grace and it's my choice 514 00:30:40,760 --> 00:30:59,440 Speaker 3: to have a wonderful, delicious life every day