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Speaker 1: This is Kelly Henderson and you're listening to the Velvet

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Speaker 1: Edge podcast. This week, my guest is songwriter Luke Dick.

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Speaker 1: Luke is becoming a well known name in Nashville for

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Speaker 1: his hit songs written for everyone from Eric Church to

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Speaker 1: Kasey Musgraves to Miranda Lambert and Dirk Spentley. But there

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Speaker 1: is a lot more to his story than that. Luke

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Speaker 1: spent years making his way as a philosophy teacher. He

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Speaker 1: is also the lead singer in his own band, formerly

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Speaker 1: named Republican Hair and now called Steve. Luke can also

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Speaker 1: now add filmmaker to his resume with his new documentary

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Speaker 1: Red Dog, which chronicles his mother's stories from his childhood

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Speaker 1: about her days as a stripper. Fascinating does not even

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Speaker 1: begin to describe Luke Dick. Here's our conversation. Okay, So,

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Speaker 1: when I was researching about you before this, like the

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Speaker 1: stories I love hearing in Nashville are people who did

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Speaker 1: not necessarily just come to Nashville and make it really fast,

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Speaker 1: because we always hear about the final story, you know,

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Speaker 1: So can you tell me, like what made you want

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Speaker 1: to move here? Um? It was a flu uke, a

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Speaker 1: little bit of a fluke um uh, I just I

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Speaker 1: just I'm sorry. I have to diverge for just a

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Speaker 1: second because you went about this backwards, because most people

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Speaker 1: want to know the end result, right, And it was

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Speaker 1: there's this rapper name Plies, and he has a really

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Speaker 1: great Instagram account where he just he sort of philosophizes

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Speaker 1: or whatever for just a minute or whatever, and he goes.

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Speaker 1: He starts it with this enigmatic thing that he says,

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Speaker 1: which is, nobody wants to hear about the labor pains.

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Speaker 1: Everybody just wants to see the baby's true. Yeah, yeah,

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Speaker 1: And he says, when they walk into the delivery room,

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Speaker 1: do they say do? They say? They talk to the

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Speaker 1: mom though, they say where's the baby? Where's the baby? Baby?

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Speaker 1: In a minute, they'll say, oh, well, how's mom doing?

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Speaker 1: You know, how did how is or whatever? But see

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Speaker 1: you flipped it all over. You're asking about the labor

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Speaker 1: pains before the baby. You know why I do that though?

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Speaker 1: It is because when I hear about the baby, it

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Speaker 1: makes you feel bad about my life, like didn't I

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Speaker 1: just get there? You know? So I want to know

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Speaker 1: trick though the baby is a trick. I don't mean

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Speaker 1: to stay in this metaphor. I'll tell you why it's

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Speaker 1: a trick is because people go into places like the Bluebird,

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Speaker 1: which I love, and people and then the songwriters play

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Speaker 1: their songs and most of the time it's great songs,

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Speaker 1: and you're like, oh, jeez, man, how could I ever

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Speaker 1: write songs like that? Well, the truth is is that

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Speaker 1: if it's a round of three people or four, I'm

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Speaker 1: playing my five best songs I could muster or that

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Speaker 1: play into that dynamic. And I've been I've written five

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Speaker 1: d songs. So you're picking one percent of your songs

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Speaker 1: and so that's all you get to see, and you

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Speaker 1: don't get to see the labor pains. So tell me

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Speaker 1: about your abor pains, my labor pains. UM. I did

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Speaker 1: land in Nashville, flukish lye UM. I had somebody asked

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Speaker 1: me if I wanted to be a songwriter. UM. And

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Speaker 1: I was playing in an all country band in Oklahoma,

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Speaker 1: and I was in a master a master's degree studying

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Speaker 1: philosophy and playing bands on the weekends. And I've always

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Speaker 1: played in bands since I was in high school. And

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Speaker 1: it was real to me. It wasn't just a hobby.

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Speaker 1: It was like, well, I'll keep playing in his band,

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Speaker 1: and somebody will find us because we're great, which is

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Speaker 1: what everybody thinks in every band that you're ever in,

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Speaker 1: and something will happen. Or my backup plan is I'll

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Speaker 1: just become a philosophy professor, which really isn't that awesome

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Speaker 1: of a backup plan either, because the way that academics work,

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Speaker 1: there aren't that many philosophy positions open across the country,

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Speaker 1: So you end up having to take a job and

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Speaker 1: in North Dakota or something because that's where the one

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Speaker 1: is open. Otherwise you're doing adjunct work, which I mean,

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Speaker 1: it's a it's a living, and it's you can still

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Speaker 1: be I could still be passionate about teaching in that fashion,

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Speaker 1: but it is really piecemeal type of living. Um. I

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Speaker 1: mean what I'm doing now is piece meal as well,

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Speaker 1: but um, the pieces are bigger. In the meal is

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Speaker 1: bigger if you do well, Um, philosophy, you never really

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Speaker 1: hit it big and philosophy. So I was there studying

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Speaker 1: playing in a band, and um, you have to go

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Speaker 1: to Nashville. I know some people in Nashville go right,

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Speaker 1: some songs with so and so, and I came out

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Speaker 1: here and um, it was kind of a disaster. To

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Speaker 1: tell you the truth. Um, the first trip was a

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Speaker 1: little bit of a disas suster. It was before um smartphones,

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Speaker 1: and so I was supposed to be staying with this

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Speaker 1: guy who had a publishing company. But on the way,

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Speaker 1: UM texting had just come out, right, and so he

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Speaker 1: was texting me. And then I almost got here, and

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Speaker 1: it's about I got to Jackson, Tennessee, and it he

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Speaker 1: just went radio silent on me, and it was like,

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Speaker 1: I'm sorry, You're gonna have to get a place. I

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Speaker 1: was supposed to stay with him. I'm sorry, you're gonna

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Speaker 1: have to stay. Go stay at Loew's Vanderbilt. They have

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Speaker 1: a room there, which is expensive, Like uh, how I'm

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Speaker 1: in grad school, sort of spending all the extra money

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Speaker 1: that I had just to drive out here. And then

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Speaker 1: I was this close and I didn't know what to do.

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Speaker 1: So I drove and I happened to get off on

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Speaker 1: Broadway and but I turned right and now I got

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Speaker 1: off into Mombran and turned sad music this way. So

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Speaker 1: you just turned on the music row and it was

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Speaker 1: like six o'clock, five o'clock, something's like happy hour, you know,

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Speaker 1: on a Friday, and de mambring all those shops now

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Speaker 1: that I know, they just popped up tin roof and

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Speaker 1: all that which passed those. And I went around the

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Speaker 1: circle and I'm like, well, this is kind of small.

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Speaker 1: I'd expected there to be like these huge buildings and stuff.

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Speaker 1: You kind of see. Aspo was kind of glitzy, right,

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Speaker 1: you're driving on one side, it's like these are just

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Speaker 1: houses and stuff, you know. I came back down the

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Speaker 1: other side and I'm like, I don't know what to do.

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Speaker 1: I guess I'm just gonna go have a drink and yeah, yeah, yeah, yeah,

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Speaker 1: this is You're really We're really getting into it here.

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Speaker 1: So I drive to a liquor store. I get a

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Speaker 1: I was drinking Scotch at the time, and so I

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Speaker 1: got a little fifth of doers put it in my

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Speaker 1: boot because I couldn't afford a drink all night, so

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Speaker 1: I would order one drink and I sat a corner

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Speaker 1: of the bar, which I had read this book from

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Speaker 1: Harlan Howard or the story about Harlan Howard was a

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Speaker 1: great Nashville songwriter who said sit at the corner of

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Speaker 1: the bar because it's called the pole position. You can

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Speaker 1: hear conversations from both sides at the position and so yeah,

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Speaker 1: I'm like, I don't know what I'm doing here. So

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Speaker 1: I sit down and then I noticed that some guys

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Speaker 1: said the left of me. They were songwriters, and I

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Speaker 1: kind of worked my way into the conversation and they're like,

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Speaker 1: what are you doing here? I'm like, I just got

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Speaker 1: here like an hour ago. I want to be a songwriter.

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Speaker 1: And uh. The guy was supposed to stay with he's

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Speaker 1: on a bender or something and won't let me stay

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Speaker 1: with him now. And they're like, oh, man, I just

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Speaker 1: got a Leon Rhymes cut. Once you come down to Longhorn,

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Speaker 1: will buy you a steak. And so they bought me

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Speaker 1: a steak. Well that was nice. Yeah, that's how I

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Speaker 1: got to Nashville. But didn't you calm and then leave?

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Speaker 1: I moved here after that trip because the trip was

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Speaker 1: so wonderful, right, it sounds so great. Why wouldn't anybody

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Speaker 1: move here after that? Well? I hung out and end

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Speaker 1: it up getting a small publishing deal, and I came

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Speaker 1: and I made a record. They're like, you should be

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Speaker 1: a country artist, and um, I never thought of that

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Speaker 1: until you said it. Um, I like some country I'd listened.

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Speaker 1: I'd listened to the actually listened to the format the

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Speaker 1: whole way because I'm like, how am I supposed? I'm like,

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Speaker 1: I like Hey JR. I like Henck Williams how and

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Speaker 1: so on the way out, I heard two songs that

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Speaker 1: I really liked on the radio, and I'm like, that's enough,

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Speaker 1: you know, two songs that I like. Okay, maybe I

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Speaker 1: could be one of the songs that I like, you know,

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Speaker 1: And so I I came out and signed the published deal,

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Speaker 1: and they wanted to being an artist. And I made

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Speaker 1: a couple of records or a couple of demos, sets

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Speaker 1: of demos, and I had been here four years or so,

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Speaker 1: and it wasn't like hundreds of people were lining up

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Speaker 1: to see me play or wanting to sign me to

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Speaker 1: a record deal or or anything like that. Nobody was

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Speaker 1: cutting my songs, and I just thought, what am I doing?

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Speaker 1: You know, I had, by then, UM was a single

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Speaker 1: dad with a daughter raising her, with a best friend

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Speaker 1: of mine who moved out here to write songs too,

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Speaker 1: and so it's like my two dads in this apartment

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Speaker 1: and we're struggling for peanut butter half the time. You know,

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Speaker 1: by then, I'm kind of teaching some philosophy I'm driving

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Speaker 1: a forklift, I'm writing songs, doing whatever I can to

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Speaker 1: pay the rent. And I'm just like, this is dumb.

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Speaker 1: I don't know how to do this. Nobody seems to care. Anybody,

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Speaker 1: nobody who matters seems to care. So I just probably

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Speaker 1: need to go get finished my degree and become a

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Speaker 1: doctor of philosophy and teach philosophy and um, going about

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Speaker 1: my business and so um. About then, I was starting

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Speaker 1: up a relationship with my now wife who was moving

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Speaker 1: to New York. And I've been there one time for

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Speaker 1: one night. And when I was there, I was like,

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Speaker 1: what would it be like to live here? Yeah? I

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Speaker 1: mean it's a magical city. Yeah, and it's overwhelming. I

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Speaker 1: mean the place where I grew up was three people,

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Speaker 1: you know, in in a in a five mile radius.

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Speaker 1: And I was like, wow, what a difference in a

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Speaker 1: way of life. And it was overwhelming. But I was

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Speaker 1: like what. I was just like, what would that be like?

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Speaker 1: And so she was moving there for her education and

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Speaker 1: I just thought, I'll just go to school up there,

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Speaker 1: and she went back to school. Well, I went and

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Speaker 1: started applying to grad schools for PhD programs, and my

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Speaker 1: daughter and I went to the post office first day,

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Speaker 1: and I just started applying for also adjunct teaching jobs

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Speaker 1: around the city and so we mailed out twenty you know,

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Speaker 1: uh cvs. They call them one curriculum vita or whatever,

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Speaker 1: and ended up getting four or five jobs all over

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Speaker 1: the city in different boroughs, teaching philosophy. And then on

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Speaker 1: my days off, I would write music. And then I

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Speaker 1: became buddies with people who worked at advertising agencies and

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Speaker 1: they're like, your music is good. You should write you know,

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Speaker 1: you should have music for us and write music for

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Speaker 1: us or whatever. So I learned how to do that

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Speaker 1: and started getting the stuff that I would write would

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Speaker 1: be adverts for you know, Sweet and Low or Hilton

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Speaker 1: or whatever, and the money and the money was great,

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Speaker 1: and it was weird. It was like it was sort

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Speaker 1: of the first time I was outside my head on

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Speaker 1: what should I write about today? You know. It was like,

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Speaker 1: we need a song about togetherness, okay. So it was

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Speaker 1: so specific, it was so specific, and it was like

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Speaker 1: not necessarily related to something that was going on in

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Speaker 1: my life for something like that, So it was character

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Speaker 1: writing in a way, but it was still it was

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Speaker 1: like I wanted to like it. At the end of

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Speaker 1: the day, It's like, I want to make something cool.

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Speaker 1: They're gonna pay me if if I do really well,

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Speaker 1: and it's the one that gets picked, they'll pay me

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Speaker 1: really well. So I started doing that, and slowly over

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Speaker 1: time I would teach less, teach less and make more

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Speaker 1: and win more jobs like that, and then UM I

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Speaker 1: signed another publishing deal about the same time. And then Arturo,

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Speaker 1: my current publisher, called me when I was in New

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Speaker 1: York asking for songs for Dirk's Bentley and yeah, yeah, yeah,

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Speaker 1: and and I was, you know, I was um making

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Speaker 1: the ad stuff, but I also had my own record

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Speaker 1: that was kind of neighborhood centric stuff that I was

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Speaker 1: thinking about people that I was around. I was making

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Speaker 1: little documentaries. I was, you know, shooting film and just

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Speaker 1: sort of being in the in my neighborhood and being

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Speaker 1: creative all my days off and so, but the record

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Speaker 1: wasn't country. It was like kind of folky, indie ish,

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Speaker 1: you know, my record I was making at the time,

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Speaker 1: and our Touro calling asking for Dirk's Bentley songs, which

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Speaker 1: maybe some of my stuff when I was in Nashville

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Speaker 1: could have applied, but these songs were all in falsetto

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Speaker 1: you know, and they were, um, uh these weird songs

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Speaker 1: about the afterlife and all this stuff. I was like, man,

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Speaker 1: you don't want any of these songs. You can't. He's

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Speaker 1: out singing any I mean, I like him, but it's

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Speaker 1: just like it's just not even a fit, you know.

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Speaker 1: And he's like, all right, look me up when you're

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Speaker 1: in Nashville, and so I mean really you fast forward

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Speaker 1: a few years and I kept winning it ads, and

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Speaker 1: then I signed another publishing deal and then ar Tiro

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Speaker 1: and I who um executive produces Dirk's and executive produces

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Speaker 1: Eric Church, and he sought me out. It was like

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Speaker 1: we should do something together. And I'm like, all right again,

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Speaker 1: I've never been one. I've been always been ambitious, but

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Speaker 1: never been the one be like, okay, I need I

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Speaker 1: want the Dirks cuts, I want the Eric cuts, so

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Speaker 1: I could be working with these people. Business never applied

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Speaker 1: to me like that or it never came to me,

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Speaker 1: And looking back, I was like, what an idiot? Why

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Speaker 1: didn't I just do X, Y and Z in order

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Speaker 1: to fit in or do this or do that. But

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Speaker 1: it was always just sort of led creatively on what

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Speaker 1: I was doing creatively and just hoping that somebody would

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Speaker 1: fall out of this guy to be a team with me, um,

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Speaker 1: who we could actually make a living with. You know,

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Speaker 1: that's kind of what he did a little bit, right,

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Speaker 1: did he. I mean he kind of fell out of

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Speaker 1: this guy. Um, but he he was working at Capitol

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Speaker 1: Records when we took the one of the record that

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Speaker 1: I had made when I was living in Nashville. The

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Speaker 1: first time I had taken my record in there and

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Speaker 1: basically got laughed out of the room because it wasn't

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Speaker 1: it wasn't what was going on at the time. It

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Speaker 1: didn't sound like it it fit the format. Um. Although

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Speaker 1: now when you listen to that record, it sounds like

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Speaker 1: it fits the format. Why now, what's what did it like?

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Speaker 1: The sounds changed in Nashville, the vibes changed, and so

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Speaker 1: whereas and this is not any knock or anything, but

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Speaker 1: when you have like Redneck Woman, Save a Horse, Ride

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Speaker 1: a Cowboy, I mean, these are all bombastic songs that

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Speaker 1: are like these sort of chunky rock things, and um,

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Speaker 1: I was more into sort of how could I'd be

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Speaker 1: like a Tom Pettish kind of country thing that we're

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Speaker 1: And by the time I came back, like Jay Joyce

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Speaker 1: and Eric Church were making records together and they sounded different,

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Speaker 1: and I was like, is this what they're doing in Nashville? Now?

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Speaker 1: When I was, I mean because I wasn't paid attention

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Speaker 1: to And the answer was no, that's not exactly what

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Speaker 1: they were doing in Nashville, but it was a part

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Speaker 1: of it which opened the door for people like me

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Speaker 1: to come in and actually leaf kind of fit or

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Speaker 1: be on the fringes and not be seen as something

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Speaker 1: that could never work or whatever. What was the first

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Speaker 1: big cut you got? Mhm? I mean, um, my first

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Speaker 1: major label cut was a Kip More cut UM, and

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Speaker 1: he was coming over to write songs, um, but none

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Speaker 1: of those ended up being radio singles. UM. Eric's record

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Speaker 1: the last record mr ms Mr Misunderstood. He came over.

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Speaker 1: I had an idea and I sent it to our

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Speaker 1: Trinity's like, I think Eric would love this. I'm gonna

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Speaker 1: send it to him. He sent it to Eric. Yes,

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Speaker 1: I want to please put that back for me. I

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Speaker 1: want to write that with you. Okay, great, we come over.

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Speaker 1: It's kill a word, So we write kill a word

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Speaker 1: and then he come. We right, We finished that song

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Speaker 1: in like an hour and then he breaks out kind

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Speaker 1: of a chorus to round here Buzz and so we

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Speaker 1: write that, which kind of becomes like the luckiest day

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Speaker 1: of my career life. So is that because that is

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Speaker 1: that normal to write two huge songs? No, it's not normal.

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Speaker 1: It's not normal to write one. Yea, what does that

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Speaker 1: look like? I'm so curious because obviously you're now talking

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Speaker 1: about the business of songwriting a little bit. And when

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Speaker 1: I first moved to Nashville, I remember, you know, I

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Speaker 1: just think of songwriters as maybe like driving down the

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Speaker 1: street and get this idea and then it's just it

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Speaker 1: flows out of you, guys. But how it's so much

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Speaker 1: more planned and you get paired up with people and

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Speaker 1: there's meetings and what that that is. But I mean,

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Speaker 1: I would probably back up to say it's more about

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Speaker 1: driving around and getting an idea. To me, it is,

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Speaker 1: you can. You can get paired with somebody, But being

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Speaker 1: paired with somebody doesn't mean you're going to have an

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Speaker 1: idea or it's gonna jail creatively, or that anything is

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Speaker 1: going to happen. That's better than mediocre. Yeah, And I

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Speaker 1: mean even a mediocre song by Nashville standards is pretty good,

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Speaker 1: a pretty good song. But things that stick out things

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Speaker 1: that make it sort of the ones that rise to

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Speaker 1: the top. It to me, it seems to it's always

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Speaker 1: I've always felt like it was really something something special

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Speaker 1: when we were making it UM and so I UM,

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Speaker 1: generally you rely on your writers a lot. So you know,

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Speaker 1: you you get to you get a crew and you're

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Speaker 1: if if you don't have an idea that day, you

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Speaker 1: get your fingers cross hope and they have a title

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Speaker 1: or something. I'm doing my best. I'm gonna make some

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Speaker 1: music before they get in here, so that there'll be

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Speaker 1: something that we can vibe on and have fun or

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Speaker 1: just the starting point of some sort you know, or

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Speaker 1: sometimes you don't. You know, sometimes you gotta go to

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Speaker 1: the doctor that morning and you get into the writing

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Speaker 1: room and you just came from the doctor and you

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Speaker 1: just gotta go for it and see what happens. And

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Speaker 1: that's when you start hopefully getting a crew that you

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Speaker 1: really trust to be able to be inspired and to

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Speaker 1: actually have a good day that UM was worth doing.

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Speaker 1: You know, UM, whether it's fun, whether it's serious, whether

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Speaker 1: it's up tempo, down top or whatever. You know that

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Speaker 1: that you're chasing down ideas that are worth the five

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Speaker 1: or six hours that you're putting into writing a song

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Speaker 1: or whatever for the day. And I always keep a

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Speaker 1: book of titles ideas that I want to write that

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Speaker 1: I kind of maybe have an idea, or it's just

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Speaker 1: a title that I find is interesting or something like that,

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Speaker 1: So I'll keep a running title log. And then I

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Speaker 1: think that could be that might be something that Eric

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Speaker 1: would be into something. And so you're trying to find

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Speaker 1: things and you say that not because to me, not

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Speaker 1: because you're trying to angle getting business done. To me,

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Speaker 1: it's I think that that's a cool title that to

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Speaker 1: me seems like something I would like to chase down

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Speaker 1: with this artist because this is how they are or

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Speaker 1: this is how they think creatively, and they might like

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Speaker 1: that or something something that That's how my thought process

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Speaker 1: goes when i'm yeah, it's a match, it's a good

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Speaker 1: match for them, um. And it's I always think about

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Speaker 1: songs and collaborations as being like ven diagrams, and so, right,

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Speaker 1: you've got your personality or whatever and somebody else's personality,

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Speaker 1: and you're looking for that two circles overlapping and looking

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Speaker 1: for that middle part to where you both overlap each

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Speaker 1: other in some creative way. Um, I may I'm just

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Speaker 1: thinking about Sometimes I write songs I didn't just break

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Speaker 1: up with somebody I have before. Um, And at one

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Speaker 1: point in my career I would think, well, that's disingenuous,

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Speaker 1: you know, that's disingenuous in some way. But then I'm like, well,

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Speaker 1: it was John Steinbeck sort of this uh sort of

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Speaker 1: giant simpleton. No, Lenny was his character that he wrote,

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Speaker 1: and he was writing a character for a certain reason,

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Speaker 1: you know, And so um, I think those songs that way.

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Speaker 1: You know, it's like I wanna it doesn't necessarily have

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Speaker 1: to be about my life, but I want to like it,

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Speaker 1: you know, every time I sit down, I want to

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Speaker 1: like it. Um. If it's a party song, it's I

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Speaker 1: wanted to be a party song in the way I

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Speaker 1: liked the party. Um. So that's what you're trying to inject.

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Speaker 1: Or if somebody else is there and it's an artist

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Speaker 1: or something like that, and they have an idea of

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Speaker 1: how they want to make the song, and it's like, Okay,

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Speaker 1: let me be a facilit litator of words and images

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Speaker 1: for you for that whatever it is. Yeah, And I

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Speaker 1: don't mind doing that. I feel like it's a I

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Speaker 1: don't really. Uh, it's an enjoyable, creative Rubik's Cube to me,

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Speaker 1: do you typically are you able to identify with the

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Speaker 1: feelings you're talking about that even if they're not your own,

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Speaker 1: Because let me just say this first. I mean some

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Speaker 1: of the songs you've written are some of my favorite songs.

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Speaker 1: You've written The Mountain, burning Man for Dirk Spentley, Plead,

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Speaker 1: the Fifth and the Bull for Kip Moore, Highway Vagabonds,

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Speaker 1: Pink Sunglasses from Miranda Lambert. I was thinking about all

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Speaker 1: those songs, and I'm like, when I listen to those songs,

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Speaker 1: like I feel those feelings, like Burning Man makes me

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Speaker 1: want to jump up and down, and I feel the

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Speaker 1: back and forth and the confusions Pink Sunglasses, like I

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Speaker 1: imagine that with the way that you write. I, Um,

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Speaker 1: I know that that's a female song, or people say

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Speaker 1: it's female, but I play it out all the time

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Speaker 1: when I'm really yeah, it's like it's kind of like

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Speaker 1: a a punkier version of like rose color Glasses, you know.

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Speaker 1: It's just like it's it's a little punk, punky, you

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Speaker 1: know where it's like it's that scene in The Big

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Speaker 1: Lebowski where um, he puts on the sunglasses and it's

399
00:23:17,080 --> 00:23:19,199
Speaker 1: just like, fuck it, let's go bowling, you know what

400
00:23:19,200 --> 00:23:22,159
Speaker 1: I mean. And it's like I feel like that a

401
00:23:22,280 --> 00:23:24,200
Speaker 1: lot when I'm walking around. I'm just like, I don't

402
00:23:24,200 --> 00:23:26,560
Speaker 1: want to deal with the world. The second like I've

403
00:23:26,600 --> 00:23:28,520
Speaker 1: had enough, you know, Can we just put this on?

404
00:23:28,560 --> 00:23:31,800
Speaker 1: I don't. Uh. There's plenty of times I enjoy interacting

405
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Speaker 1: with people, and there's plenty times that I don't too.

406
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Speaker 1: So that's really kind of what can we Can you

407
00:23:37,160 --> 00:23:41,880
Speaker 1: have fun not interacting? Yes you can. It's called pink sunglasses,

408
00:23:42,119 --> 00:23:47,760
Speaker 1: you know. That's that is that vibe. The bull was

409
00:23:47,800 --> 00:23:51,080
Speaker 1: a kind of a fun, weird one me and John

410
00:23:51,160 --> 00:23:55,440
Speaker 1: Randall were had just we met that morning. I had

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Speaker 1: an idea that I've written down that I thought was

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Speaker 1: good and then didn't think was good. That it was

413
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Speaker 1: good and didn't think was good. But it was like,

414
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Speaker 1: I will go up from the dream where I was

415
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Speaker 1: thinking people like I was receiving an award for something

416
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Speaker 1: and I'm like, most of all thanks to the bulls

417
00:24:12,520 --> 00:24:15,240
Speaker 1: that booked me off. And then I woke up and

418
00:24:15,680 --> 00:24:17,720
Speaker 1: it was brilliant. And then I woke up and I

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00:24:17,720 --> 00:24:19,560
Speaker 1: wrote it down and I was like, that's not that

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00:24:19,600 --> 00:24:25,320
Speaker 1: brilliant and then I'm just John and I didn't have um,

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00:24:25,520 --> 00:24:27,440
Speaker 1: we didn't I didn't have a track or I didn't

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Speaker 1: have music or anything. And I'm just like, I just

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Speaker 1: got this thing. You know. He's like I love it, man,

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Speaker 1: let's go. And I'm like, cool, We'll just like, let's

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Speaker 1: just go. And he had so many images for it,

426
00:24:39,000 --> 00:24:40,720
Speaker 1: and I had so many images for it, and so

427
00:24:40,800 --> 00:24:44,200
Speaker 1: we just took off. You know. See, I'm so glad

428
00:24:44,240 --> 00:24:46,159
Speaker 1: that happens to other creatives too. There where you think

429
00:24:46,200 --> 00:24:47,760
Speaker 1: it's good and then you're like, oh, let's suck. That's

430
00:24:47,800 --> 00:24:50,000
Speaker 1: so terrible. No, no no, no, and you like debate in

431
00:24:50,040 --> 00:24:52,640
Speaker 1: your head before you can even put it out to anything.

432
00:24:53,400 --> 00:24:57,280
Speaker 1: That's the that's part of the creative process, you know.

433
00:24:57,400 --> 00:25:03,760
Speaker 1: And then you anything and you don't really know if

434
00:25:03,760 --> 00:25:06,359
Speaker 1: it's good until it gets out in front of other people.

435
00:25:06,480 --> 00:25:09,080
Speaker 1: That's not necessarily true, I don't know. I mean, it's

436
00:25:09,080 --> 00:25:12,560
Speaker 1: like you got to look at esthetic value or whatever,

437
00:25:12,720 --> 00:25:19,520
Speaker 1: and you to me, it starts with yourself. Is this

438
00:25:19,640 --> 00:25:27,000
Speaker 1: expressing something that you feel is genuine, that is worth expressing. Hope,

439
00:25:27,080 --> 00:25:29,960
Speaker 1: maybe it's expressed in a way that hasn't been expressed before.

440
00:25:30,000 --> 00:25:33,200
Speaker 1: Maybe it's something that hasn't been expressed before, sort of

441
00:25:33,280 --> 00:25:38,160
Speaker 1: some kind of unique expression, you know, um, some emotion

442
00:25:38,320 --> 00:25:43,920
Speaker 1: or something. UM. And that's both lyrical and it's musical

443
00:25:43,960 --> 00:25:46,080
Speaker 1: at the same time, because there are songs. It's not

444
00:25:46,160 --> 00:25:49,040
Speaker 1: just a lyric. It's a lyric in a music too.

445
00:25:49,040 --> 00:25:51,760
Speaker 1: And you can spend those two and you can marry

446
00:25:51,760 --> 00:25:58,919
Speaker 1: those two and quilt them together in infinite ways. UM.

447
00:25:58,960 --> 00:26:05,240
Speaker 1: So you have to of it um. And well, the

448
00:26:05,280 --> 00:26:07,280
Speaker 1: great thing about co writing is that you want the

449
00:26:07,320 --> 00:26:09,600
Speaker 1: person in the room to love it too. This is

450
00:26:10,000 --> 00:26:13,840
Speaker 1: a joint effort here. And so you guys love it

451
00:26:13,960 --> 00:26:17,439
Speaker 1: and you make it and then you wonder, you know,

452
00:26:18,720 --> 00:26:20,439
Speaker 1: is the world gonna love yea? Is it just in

453
00:26:20,440 --> 00:26:22,480
Speaker 1: this room or yeah? And then you have to put

454
00:26:22,520 --> 00:26:24,880
Speaker 1: it out and then see what just just see what happens,

455
00:26:24,960 --> 00:26:26,959
Speaker 1: you know, and see if the world loves it or not.

456
00:26:27,800 --> 00:26:32,880
Speaker 1: And I try not to dig too deep on um

457
00:26:33,200 --> 00:26:37,520
Speaker 1: fan love of songs and stuff, but it's important to me.

458
00:26:37,600 --> 00:26:40,399
Speaker 1: It's nice to know that it did something. You know,

459
00:26:40,640 --> 00:26:43,880
Speaker 1: it makes UM. It wasn't just me in the room

460
00:26:43,960 --> 00:26:49,720
Speaker 1: by myself feeling a feeling that is only only applies

461
00:26:49,800 --> 00:26:53,600
Speaker 1: to me, you know, it's cool. We're human, we identify

462
00:26:53,720 --> 00:26:57,800
Speaker 1: with each other, we have similar feelings about things, you know.

463
00:26:57,880 --> 00:27:00,960
Speaker 1: That's the I feel like that's the biggest joy of

464
00:27:01,960 --> 00:27:05,159
Speaker 1: songwriting and the fans of songs and fans of the

465
00:27:05,280 --> 00:27:07,880
Speaker 1: artists that sing the songs or you know, when they're

466
00:27:07,920 --> 00:27:10,320
Speaker 1: when they're connecting with something. To see that kind of

467
00:27:10,320 --> 00:27:15,240
Speaker 1: a connection is it's gratifying to me. I never thought

468
00:27:15,280 --> 00:27:18,000
Speaker 1: about the connection piece to that. Like when you're validated

469
00:27:18,359 --> 00:27:20,959
Speaker 1: back with people loving something, it is like, oh I

470
00:27:21,000 --> 00:27:23,800
Speaker 1: loved it. Oh cool, you love it? Yeah? Yeah, I

471
00:27:23,840 --> 00:27:26,800
Speaker 1: mean because the whatever that you wrote kind of becomes

472
00:27:26,840 --> 00:27:31,600
Speaker 1: in it. Once it's out, it's not yours anymore. You

473
00:27:31,640 --> 00:27:34,040
Speaker 1: don't even remember that. You don't even remember the labor

474
00:27:34,080 --> 00:27:37,199
Speaker 1: pains of it, you know. And so there is the baby,

475
00:27:37,520 --> 00:27:40,960
Speaker 1: and you love the baby, and you loved it as

476
00:27:41,000 --> 00:27:44,320
Speaker 1: you were making it. But it's not it's a it's

477
00:27:44,359 --> 00:27:47,399
Speaker 1: its own independent thing that and the other people love

478
00:27:47,480 --> 00:27:52,760
Speaker 1: the baby too. Is uh. I don't know, a real

479
00:27:52,920 --> 00:27:58,720
Speaker 1: fringe benefit of songwriting. I can't say that it's the

480
00:27:58,760 --> 00:28:03,160
Speaker 1: reason for song writing, but it is a fringe benefit

481
00:28:03,280 --> 00:28:07,160
Speaker 1: maybe is a little too flippant. It is a a real,

482
00:28:08,440 --> 00:28:12,840
Speaker 1: a real draw and a real I don't know, kind

483
00:28:12,840 --> 00:28:15,560
Speaker 1: of a little human revelation of sorts. You know that

484
00:28:15,600 --> 00:28:18,840
Speaker 1: you don't feel so alone. You know other people who

485
00:28:18,920 --> 00:28:23,920
Speaker 1: identify in the way that you identify, and sometimes to me,

486
00:28:23,960 --> 00:28:28,400
Speaker 1: there's no better feeling than that in the world which

487
00:28:28,440 --> 00:28:34,200
Speaker 1: you're not alone. I've imagined too. That's another piece of

488
00:28:34,320 --> 00:28:37,119
Speaker 1: picking the right artist for each song, because have you

489
00:28:37,160 --> 00:28:40,680
Speaker 1: ever had an experience where you write something and then

490
00:28:40,720 --> 00:28:43,240
Speaker 1: an artist translates it into their own thing that you

491
00:28:43,320 --> 00:28:46,280
Speaker 1: don't like or do you let go of it at

492
00:28:46,280 --> 00:28:49,120
Speaker 1: that point? Should Yeah, let's just air out the dirty laundry,

493
00:28:49,160 --> 00:28:52,120
Speaker 1: will spill it to let's do it on the podcast.

494
00:28:54,640 --> 00:28:58,520
Speaker 1: You don't have to name names. I feel like it's

495
00:28:58,560 --> 00:29:03,680
Speaker 1: in any songwriter who has some some success that's just

496
00:29:03,760 --> 00:29:09,080
Speaker 1: gonna happen because you're gonna you're slinging songs, and you know,

497
00:29:09,200 --> 00:29:12,200
Speaker 1: you are just trying to create opportunities with your songs

498
00:29:12,240 --> 00:29:16,880
Speaker 1: once you make them, and so um things get tangled

499
00:29:17,000 --> 00:29:19,080
Speaker 1: or they get tied up with this artist and then

500
00:29:19,080 --> 00:29:22,480
Speaker 1: that artist gets dropped, and then that this doesn't happen.

501
00:29:22,600 --> 00:29:26,040
Speaker 1: I mean, there's so many failures. There are so many

502
00:29:26,080 --> 00:29:29,640
Speaker 1: failures in life, and there are even more failures in

503
00:29:29,680 --> 00:29:32,920
Speaker 1: the music business. I feel like it seems like it's

504
00:29:32,920 --> 00:29:35,400
Speaker 1: just you have to wade through a sea of nose

505
00:29:36,120 --> 00:29:40,040
Speaker 1: to find some minnow of yes out there. That's why

506
00:29:40,040 --> 00:29:42,440
Speaker 1: I asked about your labor pains, because that's what it's

507
00:29:42,440 --> 00:29:45,400
Speaker 1: been for. I think anyone in Nashville has gone through that.

508
00:29:45,480 --> 00:29:48,400
Speaker 1: And the people now see the success and think how

509
00:29:48,400 --> 00:29:50,040
Speaker 1: great I want to do that. But you're like, well

510
00:29:50,320 --> 00:29:55,440
Speaker 1: it took. Every once in a while, I get penned

511
00:29:55,840 --> 00:30:01,720
Speaker 1: for a meeting as some new songwriter, as something, um,

512
00:30:01,760 --> 00:30:04,520
Speaker 1: and it's a friend who says, please meet with so

513
00:30:04,280 --> 00:30:08,480
Speaker 1: and so, and it's just like, I don't know what

514
00:30:08,560 --> 00:30:13,160
Speaker 1: to say, you know, um, other than you know. There

515
00:30:13,160 --> 00:30:18,280
Speaker 1: are a couple of little tips, right um. One tip

516
00:30:18,480 --> 00:30:22,960
Speaker 1: is you just have to write your own song. I

517
00:30:23,000 --> 00:30:25,560
Speaker 1: don't have the answers for you, you know, the or

518
00:30:25,640 --> 00:30:31,280
Speaker 1: the the the somebody who's had a few hits or whatever,

519
00:30:31,720 --> 00:30:38,280
Speaker 1: had forty hits, or they don't have the You don't

520
00:30:38,320 --> 00:30:41,080
Speaker 1: want them to be the ones who provide what you're

521
00:30:41,120 --> 00:30:43,760
Speaker 1: whatever it is that you're looking for. You need to

522
00:30:43,800 --> 00:30:48,000
Speaker 1: be the one providing what it is you're looking for creatively.

523
00:30:48,960 --> 00:30:52,080
Speaker 1: That that's the that's the secret. I don't know how

524
00:30:52,120 --> 00:30:56,080
Speaker 1: you do that, but well, one way to do it

525
00:30:56,120 --> 00:30:59,520
Speaker 1: is to love music and and try to be searching

526
00:30:59,600 --> 00:31:02,240
Speaker 1: for an idea or try to be searching for a song.

527
00:31:02,480 --> 00:31:05,920
Speaker 1: I mean the magic on that. It's difficult to codify

528
00:31:06,120 --> 00:31:11,760
Speaker 1: or whatever. But find those things that you love, find

529
00:31:11,800 --> 00:31:16,320
Speaker 1: those ideas that you love, and find ways to cultivate them.

530
00:31:16,320 --> 00:31:18,680
Speaker 1: And inevitably you're going to fail at that, and in

531
00:31:18,800 --> 00:31:21,840
Speaker 1: evily you're gonna make crumby songs that nobody wants to hear.

532
00:31:22,360 --> 00:31:26,240
Speaker 1: I have tons of crumby songs of eylone wants to hear. UM.

533
00:31:26,280 --> 00:31:31,160
Speaker 1: But that's okay. And then the the the bleak fact

534
00:31:32,000 --> 00:31:35,600
Speaker 1: is that even then you just it just may not

535
00:31:35,680 --> 00:31:43,200
Speaker 1: be interesting enough, it may not be good enough, um.

536
00:31:43,320 --> 00:31:48,200
Speaker 1: And so you may not be a songwriter, or you

537
00:31:48,280 --> 00:31:53,880
Speaker 1: may not be lucky enough. Some concoction of that UM

538
00:31:54,240 --> 00:32:03,360
Speaker 1: can happen along the way. And I've long thought about artists, UM.

539
00:32:03,520 --> 00:32:09,040
Speaker 1: I've it's such a tricky, tricky business of two When

540
00:32:09,160 --> 00:32:13,479
Speaker 1: to quit No, I totally because because you would think

541
00:32:13,480 --> 00:32:16,880
Speaker 1: about your experience to New York, you were doing something else.

542
00:32:17,280 --> 00:32:19,600
Speaker 1: If you hadn't come back, you wouldn't have all these hits,

543
00:32:20,000 --> 00:32:22,760
Speaker 1: but why didn't How did you know to come back?

544
00:32:22,840 --> 00:32:25,640
Speaker 1: It's easy to say God bless the broken road. Once

545
00:32:25,680 --> 00:32:29,000
Speaker 1: the road is awesome, it's not so broken. Yeah yeah,

546
00:32:29,080 --> 00:32:31,720
Speaker 1: but it could remain crummy forever. But I mean, it's

547
00:32:31,760 --> 00:32:35,760
Speaker 1: like I would just Josh Osborne a great songwriter, just

548
00:32:35,920 --> 00:32:39,040
Speaker 1: one in s AI Songwriter of the Year, and he

549
00:32:39,080 --> 00:32:43,000
Speaker 1: talked about being in Nashville maybe twenty years or something

550
00:32:43,040 --> 00:32:45,120
Speaker 1: like that, and maybe the last five to seven or

551
00:32:45,160 --> 00:32:46,960
Speaker 1: something like that have been good for him. So that's

552
00:32:47,000 --> 00:32:52,680
Speaker 1: twelve years of getting kicked around and and and so

553
00:32:52,840 --> 00:32:57,880
Speaker 1: you're you're just going off any little crumb of potential

554
00:32:58,000 --> 00:33:05,760
Speaker 1: good news or potential for things to happen. Um. I

555
00:33:05,800 --> 00:33:08,920
Speaker 1: had a kid really young in my life, and so

556
00:33:09,360 --> 00:33:15,480
Speaker 1: there's always been a practical voice in my head saying, well,

557
00:33:16,000 --> 00:33:18,800
Speaker 1: how she's supposed to go to college, how she's supposed

558
00:33:18,800 --> 00:33:24,960
Speaker 1: to get fed, how she's supposed to, uh do whatever. Um. Yeah,

559
00:33:24,960 --> 00:33:27,040
Speaker 1: you had like an extra pressure that some people might not.

560
00:33:27,520 --> 00:33:32,040
Speaker 1: It changes things, you know. And so I feel like,

561
00:33:32,680 --> 00:33:36,880
Speaker 1: I don't know, if you're nobody's you don't have a

562
00:33:36,920 --> 00:33:39,240
Speaker 1: mouth to feed, it's like, well, you can do that

563
00:33:39,320 --> 00:33:43,440
Speaker 1: all your life. If you want to. You know, UM,

564
00:33:43,480 --> 00:33:47,640
Speaker 1: I have some friends back in Dallas, UM, who are musicians,

565
00:33:47,640 --> 00:33:49,600
Speaker 1: and they've been they've been are married, couple, have been

566
00:33:49,640 --> 00:33:52,240
Speaker 1: doing it, doing it as long as I've known them.

567
00:33:52,400 --> 00:33:58,400
Speaker 1: And they're probably I want to say, mid forties to

568
00:33:59,080 --> 00:34:04,720
Speaker 1: pushing fifty. And they've always had good local bands, right,

569
00:34:04,840 --> 00:34:09,400
Speaker 1: and they do interesting things. But it hasn't ever popped.

570
00:34:09,400 --> 00:34:12,319
Speaker 1: Anything has never popped for them. And he said, I

571
00:34:12,400 --> 00:34:16,160
Speaker 1: go out with these people and they have jobs, you know,

572
00:34:16,280 --> 00:34:19,480
Speaker 1: and they make middle class, upper middle class incomes. And

573
00:34:19,480 --> 00:34:22,160
Speaker 1: they asked me, what do you do for work? And

574
00:34:22,239 --> 00:34:25,360
Speaker 1: you know, here I am, UM, working at a bookstory.

575
00:34:25,400 --> 00:34:27,200
Speaker 1: He said, I just want to crawl under a table

576
00:34:27,239 --> 00:34:29,880
Speaker 1: and die. He said, because that's not what I'm about,

577
00:34:30,040 --> 00:34:33,760
Speaker 1: That's not what I actually am. I want to make stuff,

578
00:34:33,800 --> 00:34:37,680
Speaker 1: and I make stuff and and it's hard to justify

579
00:34:37,800 --> 00:34:42,720
Speaker 1: it sometimes when it's not commercially successful. It's hard to value,

580
00:34:44,040 --> 00:34:46,960
Speaker 1: it's hard to give yourself value when it's not winning

581
00:34:47,200 --> 00:34:52,040
Speaker 1: on some cultural level. And I've been there, UM, and

582
00:34:52,360 --> 00:34:56,040
Speaker 1: I know what that feeling is, UM. And all the

583
00:34:56,080 --> 00:35:00,560
Speaker 1: only solace that you have in those moments is that

584
00:35:00,640 --> 00:35:06,000
Speaker 1: you are making something that you love. UM, that's the

585
00:35:06,040 --> 00:35:09,360
Speaker 1: only solace. I mean, that's like the It's like the

586
00:35:09,360 --> 00:35:13,080
Speaker 1: the little germ or a little seed from which all

587
00:35:13,320 --> 00:35:17,120
Speaker 1: things good can possibly flow. And that's kind of how

588
00:35:17,120 --> 00:35:21,680
Speaker 1: I see songs still, is like that's the only place

589
00:35:21,719 --> 00:35:24,320
Speaker 1: that it can start. Is something that you want to write,

590
00:35:24,920 --> 00:35:27,480
Speaker 1: you want to do, you think is good or could

591
00:35:27,560 --> 00:35:32,720
Speaker 1: be good, or has something to offer you first, anything

592
00:35:32,719 --> 00:35:34,719
Speaker 1: to offer you. It doesn't mean that everything I've ever

593
00:35:34,719 --> 00:35:37,120
Speaker 1: written has something for me to offer, but that's the

594
00:35:37,640 --> 00:35:39,600
Speaker 1: I don't want to talk about the failures. I want

595
00:35:39,600 --> 00:35:42,440
Speaker 1: to talk about the best ones, you know. So it's

596
00:35:42,480 --> 00:35:44,680
Speaker 1: kind of cool to think about it that way because

597
00:35:44,719 --> 00:35:47,400
Speaker 1: I always would imagine the pressure be like every meeting

598
00:35:47,440 --> 00:35:49,319
Speaker 1: you have, you go in and you're like, let's write

599
00:35:49,320 --> 00:35:50,719
Speaker 1: a hit song. Let's write a hit song. Let's write

600
00:35:50,719 --> 00:35:52,560
Speaker 1: a hit song. But if you write that way, then

601
00:35:52,600 --> 00:35:57,360
Speaker 1: you're writing, you're losing your whole motive behind it, or

602
00:35:57,400 --> 00:36:00,880
Speaker 1: your creativity. I want the songs to reson night, of course,

603
00:36:01,120 --> 00:36:04,520
Speaker 1: I want them to be on the radio. Um, But

604
00:36:04,640 --> 00:36:08,000
Speaker 1: at first, I want to love them. So I have

605
00:36:08,120 --> 00:36:11,560
Speaker 1: to find a way to make something that I love

606
00:36:11,680 --> 00:36:14,640
Speaker 1: and that the person in the room loves first. That's

607
00:36:14,680 --> 00:36:17,080
Speaker 1: the first step. First step, it's a good first step.

608
00:36:18,320 --> 00:36:24,480
Speaker 1: I remember Craig Wiseman, great songwriter who kind of pioneered

609
00:36:24,520 --> 00:36:29,320
Speaker 1: a genre of songwriting in a way. And uh, it's funny.

610
00:36:29,440 --> 00:36:35,280
Speaker 1: You know, Craig became so popular and his style became

611
00:36:35,320 --> 00:36:38,520
Speaker 1: so popular. You know, it's just like a Craig Wiseman

612
00:36:38,640 --> 00:36:41,920
Speaker 1: song or whatever, and so it becomes the norm, you

613
00:36:41,960 --> 00:36:46,400
Speaker 1: know his Yeah, every he is his outside the box

614
00:36:46,800 --> 00:36:50,200
Speaker 1: one day is the inside the box five years down

615
00:36:50,239 --> 00:36:54,920
Speaker 1: the road or whatever. Um. And we were writing a

616
00:36:55,000 --> 00:37:00,120
Speaker 1: song and he goes, don't think about an artist you're

617
00:37:00,160 --> 00:37:03,400
Speaker 1: writing a song or what they would say. And he said, you,

618
00:37:03,840 --> 00:37:06,759
Speaker 1: what could have been a really great car that you're

619
00:37:06,800 --> 00:37:10,520
Speaker 1: building together turns into it just a regular green Honda

620
00:37:10,880 --> 00:37:13,479
Speaker 1: because you've taken out all the life for taking out

621
00:37:13,520 --> 00:37:16,440
Speaker 1: all the interesting things that it could have been. That

622
00:37:17,040 --> 00:37:19,879
Speaker 1: just because you were thinking that somebody wanted the green

623
00:37:19,960 --> 00:37:23,000
Speaker 1: Honda because you know, it's well, they wouldn't say this,

624
00:37:23,120 --> 00:37:25,520
Speaker 1: or they didn't do that, they wouldn't do this, or

625
00:37:25,560 --> 00:37:28,080
Speaker 1: they wouldn't do that. If you're trying to aim at

626
00:37:28,120 --> 00:37:31,880
Speaker 1: at at a particular artist or whatever. I thought that

627
00:37:32,000 --> 00:37:35,839
Speaker 1: was pretty sad, and it keeps it. It keeps you young.

628
00:37:35,960 --> 00:37:40,040
Speaker 1: And that's one thing about Craig Wiseman to me is

629
00:37:40,080 --> 00:37:42,399
Speaker 1: it's like I feel like there's a creative youth still

630
00:37:42,520 --> 00:37:47,080
Speaker 1: happening with him, and there's something that has to stay

631
00:37:47,120 --> 00:37:54,359
Speaker 1: excited and curious and young about your creativity, um in

632
00:37:54,480 --> 00:37:57,640
Speaker 1: order for it for you to feel vital doing it,

633
00:37:57,800 --> 00:38:00,400
Speaker 1: you know. And I feel like songwriters can be vital

634
00:38:00,800 --> 00:38:04,200
Speaker 1: till they die, until the day they die. What is

635
00:38:04,239 --> 00:38:07,080
Speaker 1: your What would you say? The Luke Dick specialty is

636
00:38:07,160 --> 00:38:17,200
Speaker 1: Oh my god, wow. Um, I I don't know. I

637
00:38:17,320 --> 00:38:27,279
Speaker 1: try not to. Um let me think. I mean it's difficult.

638
00:38:28,080 --> 00:38:31,160
Speaker 1: Um Well, let me ask you this. Do you think

639
00:38:31,200 --> 00:38:34,880
Speaker 1: philosophy your experience and philosophy has influenced at all? How

640
00:38:34,960 --> 00:38:38,279
Speaker 1: you right? I don't think so. Really, No philosophy is

641
00:38:38,560 --> 00:38:43,400
Speaker 1: it sounds exciting and romantic, but it's really boring. Boring.

642
00:38:44,000 --> 00:38:47,480
Speaker 1: There are so many boring things about it. It's just like, Okay,

643
00:38:48,800 --> 00:38:52,440
Speaker 1: the word metaphysics gets construed in all kinds of different ways,

644
00:38:52,480 --> 00:38:57,960
Speaker 1: but in philosophy, the study of metaphysics is about how

645
00:38:58,480 --> 00:39:02,960
Speaker 1: human beings have present options. We see, we hear, we taste,

646
00:39:03,040 --> 00:39:07,719
Speaker 1: we touch, and how that data kind of how did

647
00:39:07,719 --> 00:39:11,080
Speaker 1: that How does that data turn into objects and knowledge

648
00:39:11,160 --> 00:39:14,120
Speaker 1: and stuff like this? So we take it for and

649
00:39:14,120 --> 00:39:15,879
Speaker 1: and it's things that you take for granted that there's

650
00:39:15,960 --> 00:39:18,160
Speaker 1: kind of a ghost in the machine of your consciousness

651
00:39:18,280 --> 00:39:21,120
Speaker 1: that I'm smelling and I'm seeing, this is a room

652
00:39:21,120 --> 00:39:23,040
Speaker 1: that I'm in, and here's a person in front of me.

653
00:39:23,480 --> 00:39:26,960
Speaker 1: We are I mean, I'm being bombarded by signals and

654
00:39:26,960 --> 00:39:29,960
Speaker 1: and right now that my brain is decoding and creating

655
00:39:29,960 --> 00:39:32,960
Speaker 1: an object that's in front of me. And so people

656
00:39:33,040 --> 00:39:36,319
Speaker 1: write about that, and they write thousands of pages of that,

657
00:39:36,640 --> 00:39:39,919
Speaker 1: and it's very difficult and dense to read, and it's

658
00:39:40,080 --> 00:39:44,080
Speaker 1: not sexy at all. UM, But it is interesting to

659
00:39:44,200 --> 00:39:49,319
Speaker 1: think about that kind of stuff. UM, I don't. I'm

660
00:39:49,360 --> 00:39:52,359
Speaker 1: happy with the degree that I have. But that kind

661
00:39:52,360 --> 00:39:59,160
Speaker 1: of stuff doesn't exactly apply to UM, to songwriting. There

662
00:39:59,160 --> 00:40:05,840
Speaker 1: are parenty questions in philosophy that are interesting. UM. One

663
00:40:06,440 --> 00:40:12,920
Speaker 1: is uh, I mean, it's almost mythical this UM. Sixties

664
00:40:12,960 --> 00:40:18,839
Speaker 1: philosopher Albert can move Um. French existentialists thought that all

665
00:40:18,880 --> 00:40:21,560
Speaker 1: the questions in philosophy that have been asked until then

666
00:40:22,160 --> 00:40:27,720
Speaker 1: we're worthless until you asked the question is life worth living?

667
00:40:29,360 --> 00:40:32,120
Speaker 1: And to go and then he sets out. He he

668
00:40:32,160 --> 00:40:36,879
Speaker 1: says because because uh, he talks about the myth of Sysiphus,

669
00:40:36,960 --> 00:40:41,839
Speaker 1: which is the Greek myth um or Sysiphus. I don't

670
00:40:41,840 --> 00:40:45,319
Speaker 1: know why, but he's contempned. He's condemned to Hades, and

671
00:40:45,360 --> 00:40:48,440
Speaker 1: he has to roll a rock up a hill and

672
00:40:48,480 --> 00:40:49,960
Speaker 1: as soon as he gets the top of the hill,

673
00:40:50,280 --> 00:40:52,319
Speaker 1: it just rolls back down. And so this is what

674
00:40:52,320 --> 00:40:57,200
Speaker 1: he's doing for an eternity. But the Greeks are great um,

675
00:40:57,600 --> 00:41:03,240
Speaker 1: and it's not just about Sysiphus, it's about human life

676
00:41:03,280 --> 00:41:06,440
Speaker 1: in general. It's like, hey, okay, I'm gonna get up

677
00:41:06,440 --> 00:41:07,759
Speaker 1: and i'm gonna make the bed, and i'm gonna go

678
00:41:07,880 --> 00:41:10,000
Speaker 1: write another song again, and i'm gonna pick up the

679
00:41:10,080 --> 00:41:11,759
Speaker 1: kids and then i'm gonna go eat, and then i'm

680
00:41:11,760 --> 00:41:13,480
Speaker 1: gonna put them to I'm gonna put him in a shower,

681
00:41:13,640 --> 00:41:15,080
Speaker 1: and i'm gonna go to sleep, and i'm gonna get

682
00:41:15,160 --> 00:41:17,520
Speaker 1: up and then i'm gonna get him ready again and

683
00:41:17,560 --> 00:41:20,799
Speaker 1: I'm gonna do this. And it's it's Sysiphus, right, We're

684
00:41:20,840 --> 00:41:26,480
Speaker 1: pushing to rock up the hill. And so the question

685
00:41:26,560 --> 00:41:30,920
Speaker 1: for Kemu is why why are we doing this? And

686
00:41:30,960 --> 00:41:34,600
Speaker 1: what is the meaning of it all. Of course, Um,

687
00:41:34,840 --> 00:41:40,319
Speaker 1: there's a religious answer to that. Um. Camu wants a

688
00:41:40,440 --> 00:41:45,360
Speaker 1: philosophical answer to that, which is uh um what he

689
00:41:45,400 --> 00:41:47,120
Speaker 1: sets out to do and his it's called the myth

690
00:41:47,160 --> 00:41:50,760
Speaker 1: of Sysiphus. So that is an interesting question to me. Um,

691
00:41:50,800 --> 00:41:53,319
Speaker 1: what is happiness and how do you achieve it? Um?

692
00:41:53,360 --> 00:41:56,759
Speaker 1: Those are interesting questions to me, And that becomes kind

693
00:41:56,800 --> 00:41:59,239
Speaker 1: of interesting in the context of country music. To me,

694
00:41:59,280 --> 00:42:01,239
Speaker 1: I mean it's not like I'm not a country boy.

695
00:42:01,400 --> 00:42:03,799
Speaker 1: I mean I go freshing and stuff like that, and

696
00:42:03,840 --> 00:42:07,320
Speaker 1: I was raised in the country and so those kinds

697
00:42:07,320 --> 00:42:12,960
Speaker 1: of questions with some country humor. Um, it was like,

698
00:42:13,080 --> 00:42:19,720
Speaker 1: to me, it really works. Um, it's a I love

699
00:42:19,840 --> 00:42:23,359
Speaker 1: shel Silverstein growing up and still love him and think

700
00:42:23,440 --> 00:42:27,000
Speaker 1: that he had something he was brilliant to offer the

701
00:42:27,040 --> 00:42:30,800
Speaker 1: songwriting community with his work. And those are the kinds

702
00:42:30,840 --> 00:42:34,640
Speaker 1: of things sometimes that I tackle. Sometimes it's just, you know,

703
00:42:34,800 --> 00:42:38,839
Speaker 1: it's not that it's not like I'm tackling heavy philosophy

704
00:42:38,920 --> 00:42:42,200
Speaker 1: every day, and it's not that deep or it's like

705
00:42:42,440 --> 00:42:45,360
Speaker 1: deep as your grandpa, which doesn't seem deeper than it

706
00:42:45,440 --> 00:42:47,560
Speaker 1: is deep, you know what I mean. And and it's

707
00:42:47,640 --> 00:42:53,160
Speaker 1: like a little Um, tricky mirage kind of thing. Um,

708
00:42:53,239 --> 00:42:58,200
Speaker 1: So I wouldn't say that philosophy particularly, but the out

709
00:42:58,320 --> 00:43:02,280
Speaker 1: more so, the my affinity for it and my affinity

710
00:43:02,320 --> 00:43:06,239
Speaker 1: for the questions may drive some creativity somehow. That's an

711
00:43:06,280 --> 00:43:13,160
Speaker 1: interesting questions. You also have your own band, Republican Hair.

712
00:43:13,480 --> 00:43:17,480
Speaker 1: Can you tell the people a little bit about this band? Yeah? Well,

713
00:43:17,560 --> 00:43:19,360
Speaker 1: because I feel like this band kind of sums you

714
00:43:19,440 --> 00:43:22,840
Speaker 1: up in a different way as well. It's a little different,

715
00:43:23,239 --> 00:43:30,080
Speaker 1: it's a different side of my brain. Yea. And we

716
00:43:30,200 --> 00:43:33,839
Speaker 1: actually were called Republican Hair. Now we're called Steve. Did

717
00:43:33,920 --> 00:43:36,200
Speaker 1: you know that? I did not know that. Why didn't

718
00:43:36,239 --> 00:43:39,520
Speaker 1: you tell me that? I just told you. Well, wow, okay,

719
00:43:39,719 --> 00:43:44,400
Speaker 1: so Steve, Steve, why did you make the change? I

720
00:43:44,480 --> 00:43:46,680
Speaker 1: just didn't feel like it was Republican Hair anymore. I

721
00:43:46,680 --> 00:43:50,759
Speaker 1: thought it felt like Steve every man, you know now

722
00:43:50,800 --> 00:43:52,480
Speaker 1: that I think about it. When I pulled it up

723
00:43:52,480 --> 00:43:55,600
Speaker 1: on Spotify, it said by Steve, and I was like,

724
00:43:55,640 --> 00:44:01,839
Speaker 1: who the fun is Steve? So now it makes sense. Okay, Well,

725
00:44:01,600 --> 00:44:03,600
Speaker 1: what can you tell people about this? Man? Because I've

726
00:44:03,640 --> 00:44:04,800
Speaker 1: seen you guys Alive and it was one of the

727
00:44:04,840 --> 00:44:07,000
Speaker 1: most fun shows I've been to at the five Spot

728
00:44:07,239 --> 00:44:15,399
Speaker 1: it's super high energy. I started Steve UM probably three

729
00:44:15,480 --> 00:44:20,360
Speaker 1: or four years ago now, and I just at first

730
00:44:20,440 --> 00:44:22,319
Speaker 1: it was I want to write a song. It's two

731
00:44:22,320 --> 00:44:26,839
Speaker 1: minutes long. And the first song was called I Don't Care.

732
00:44:26,960 --> 00:44:30,759
Speaker 1: That I ever wrote I wrote was another guy named Luke.

733
00:44:31,200 --> 00:44:35,520
Speaker 1: His name is Luke Foley. It's like, maybe we write

734
00:44:35,560 --> 00:44:42,080
Speaker 1: it about the end of the world, but UM, we're

735
00:44:42,160 --> 00:44:45,799
Speaker 1: just gonna party. It's the end of the world. I

736
00:44:45,840 --> 00:44:51,280
Speaker 1: don't care. It's fine, we'll just drink whatever. And I

737
00:44:51,360 --> 00:44:57,520
Speaker 1: liked that perspective, and then it became, you know, more

738
00:44:57,800 --> 00:45:06,120
Speaker 1: fed by the need. I guess you know, UM, I

739
00:45:06,160 --> 00:45:10,839
Speaker 1: am a little weirded out by social media culture. It's

740
00:45:10,840 --> 00:45:15,920
Speaker 1: a little strange. It's strange I but then I still

741
00:45:16,160 --> 00:45:20,080
Speaker 1: kind of like it. UM. And so there's this ambivalence there,

742
00:45:20,120 --> 00:45:23,760
Speaker 1: and so I just thought it might just be nice

743
00:45:23,840 --> 00:45:30,520
Speaker 1: to have and exercise whatever it is, that weird ambivalence

744
00:45:30,600 --> 00:45:37,560
Speaker 1: about the weird technological world that we have. UM. And

745
00:45:37,920 --> 00:45:46,320
Speaker 1: so there's UM. The newest release is called I Am Steve,

746
00:45:46,520 --> 00:45:49,640
Speaker 1: which is changed the name of the band, and it's

747
00:45:50,640 --> 00:45:53,880
Speaker 1: it's about Steve finding his way in the world and

748
00:45:53,960 --> 00:45:57,799
Speaker 1: what he's supposed to do and how do we achieve happiness?

749
00:45:58,800 --> 00:46:04,200
Speaker 1: You're answering all the questions and quests. It's Steve's questions.

750
00:46:05,680 --> 00:46:12,160
Speaker 1: And I've and I always wanted a show that um,

751
00:46:12,200 --> 00:46:15,800
Speaker 1: I wanted enough in the songs that could give people

752
00:46:15,840 --> 00:46:19,759
Speaker 1: something to chew on, that could also be fun, that

753
00:46:19,880 --> 00:46:22,520
Speaker 1: could also give somebody a reason to go to a

754
00:46:22,600 --> 00:46:28,799
Speaker 1: show because I'm I don't I don't enjoy I really

755
00:46:28,840 --> 00:46:32,680
Speaker 1: don't enjoy anymore going to shows where it's like quiet, acoustic,

756
00:46:33,920 --> 00:46:38,839
Speaker 1: you know, songwriter stuff. Generally it's not my vibe. And uh,

757
00:46:39,000 --> 00:46:42,960
Speaker 1: I just want to have fun. I just want to

758
00:46:43,000 --> 00:46:45,880
Speaker 1: lose my mind for a minute. I just want to

759
00:46:45,960 --> 00:46:50,520
Speaker 1: jump around and I want people to jump around with

760
00:46:50,560 --> 00:46:55,640
Speaker 1: me and to sort of have a little celebration for

761
00:46:55,760 --> 00:46:59,799
Speaker 1: the night that we're here. And it's great and it's

762
00:47:00,000 --> 00:47:03,319
Speaker 1: heard and it's fucked up and it's good and it's bad,

763
00:47:03,360 --> 00:47:09,040
Speaker 1: but yeah, it's fun. Um it's a release release and

764
00:47:09,120 --> 00:47:13,080
Speaker 1: that's what I want, and that's what Steve needs, That's

765
00:47:13,120 --> 00:47:17,799
Speaker 1: what Steve is getting. So is Steve like, does this

766
00:47:17,880 --> 00:47:22,359
Speaker 1: feel a totally different creative part of you versus like

767
00:47:22,680 --> 00:47:25,799
Speaker 1: writing a country song for someone else that is not

768
00:47:25,920 --> 00:47:28,680
Speaker 1: necessarily full of your story, like you said, doesn't have

769
00:47:28,960 --> 00:47:34,040
Speaker 1: there's no there are no rules what Steve can talk about.

770
00:47:34,080 --> 00:47:36,080
Speaker 1: There are rules of what you can talk about in

771
00:47:36,120 --> 00:47:41,319
Speaker 1: country music. And I Steve can be apathetic about the

772
00:47:41,320 --> 00:47:46,839
Speaker 1: world one day and say everything fucking sucks, Come on, man, Yeah,

773
00:47:47,680 --> 00:47:49,719
Speaker 1: and Steve can make a whole song about that, and

774
00:47:49,800 --> 00:47:51,759
Speaker 1: that can be Steve single if he wants it to be.

775
00:47:52,719 --> 00:47:57,240
Speaker 1: That can't be a country single. Country music is about

776
00:47:57,640 --> 00:48:02,000
Speaker 1: some kind of a formation of vowe of of a

777
00:48:02,080 --> 00:48:06,200
Speaker 1: traditional value. That's the difference between country and rock. To me,

778
00:48:07,719 --> 00:48:11,839
Speaker 1: there's stylistic differences in the in the way that it's

779
00:48:11,840 --> 00:48:15,239
Speaker 1: approached and the vocalizations and stuff like that, but there's

780
00:48:15,239 --> 00:48:21,040
Speaker 1: a real underlying difference, and it is that rock doesn't

781
00:48:21,040 --> 00:48:27,680
Speaker 1: have to be apathetic or whatever. But there's plenty of apathy.

782
00:48:27,760 --> 00:48:30,360
Speaker 1: Is okay, it's a rock and roll is a place

783
00:48:30,440 --> 00:48:32,920
Speaker 1: to have a little bit of apathy, indie rock, whatever,

784
00:48:33,560 --> 00:48:36,920
Speaker 1: um anything, but country country has It's like, there may

785
00:48:36,960 --> 00:48:39,360
Speaker 1: be bad things happening in a country song, but it

786
00:48:39,480 --> 00:48:42,200
Speaker 1: is to teach you a lesson or to do this

787
00:48:42,320 --> 00:48:44,600
Speaker 1: or to do that. And I think that's the beauty

788
00:48:44,640 --> 00:48:51,280
Speaker 1: of it too. Um So I really enjoy not having

789
00:48:51,320 --> 00:48:53,839
Speaker 1: those rules. I enjoy having those rules when I'm when

790
00:48:53,880 --> 00:48:58,840
Speaker 1: I'm having those rules. Um, but if Steve wants to

791
00:48:58,920 --> 00:49:03,239
Speaker 1: trap beat and to sing about everything sucks, Steve can

792
00:49:03,280 --> 00:49:06,879
Speaker 1: do that, right or Steve can sing about the Olds

793
00:49:06,960 --> 00:49:11,319
Speaker 1: and Twins if you want click fait is that the one?

794
00:49:11,840 --> 00:49:16,520
Speaker 1: Remember that one? Um? Okay, So you have Steve, you

795
00:49:16,600 --> 00:49:19,600
Speaker 1: have this songwriting, and now you have done a documentary

796
00:49:19,640 --> 00:49:24,080
Speaker 1: which I'm super fascinating. I can't know. I can't find

797
00:49:24,120 --> 00:49:26,359
Speaker 1: it anywhere al right, which you'll have to tell us

798
00:49:26,360 --> 00:49:28,160
Speaker 1: where you find it. Maybe I'll send it to you.

799
00:49:28,280 --> 00:49:31,960
Speaker 1: But well, it's not it's out. It's in the festival

800
00:49:32,040 --> 00:49:35,799
Speaker 1: circuit right now. So we started the festival circuit in

801
00:49:36,480 --> 00:49:39,919
Speaker 1: nineteen at south By Southwest. We got accepted to south

802
00:49:39,960 --> 00:49:42,680
Speaker 1: By Southwest and so we showed it down there, had

803
00:49:42,800 --> 00:49:47,240
Speaker 1: three sold out screenings, and then we won Dead Center

804
00:49:47,320 --> 00:49:50,920
Speaker 1: Film Festival in Oklahoma, and then we won San Antonio

805
00:49:51,000 --> 00:49:54,279
Speaker 1: Film Festival, and then we showed it in San Francisco,

806
00:49:54,360 --> 00:49:57,920
Speaker 1: we showed in Tulsa, we showed it a couple other places,

807
00:49:58,040 --> 00:49:59,920
Speaker 1: and then it's going to be shown at the Nash

808
00:50:00,040 --> 00:50:03,960
Speaker 1: Film Film Festival, which is when you know, the first

809
00:50:04,000 --> 00:50:07,640
Speaker 1: week of October October. Okay, so it's coming up, Yeah,

810
00:50:07,640 --> 00:50:09,960
Speaker 1: it's coming up. How many I can tell you exactly.

811
00:50:10,360 --> 00:50:15,040
Speaker 1: It's called Red Dog, which everyone should definitely research. I

812
00:50:15,080 --> 00:50:17,719
Speaker 1: think there's a whole website on this, right, but can

813
00:50:17,800 --> 00:50:21,759
Speaker 1: you tell people the whole premise? It's about your childhood

814
00:50:22,040 --> 00:50:28,640
Speaker 1: and your mom. It is um our, it's our screenings

815
00:50:28,800 --> 00:50:34,880
Speaker 1: are on ten five and ten six and Nashville Nashville

816
00:50:34,880 --> 00:50:36,760
Speaker 1: Film Fest. I'm sure if you just look up Nashville

817
00:50:36,800 --> 00:50:42,880
Speaker 1: Fests or whatever. Um So, my mom met my dad

818
00:50:45,080 --> 00:50:47,080
Speaker 1: when she was working at this place called the Red Dog,

819
00:50:47,120 --> 00:50:49,359
Speaker 1: which is the topless joint in Oklahoma City. It's been

820
00:50:49,360 --> 00:50:54,280
Speaker 1: there since nineteen and it's still open today. And so

821
00:50:54,960 --> 00:51:01,239
Speaker 1: I was curious and interested about her story and just

822
00:51:01,320 --> 00:51:06,120
Speaker 1: started slowly interviewing her, just like you talking to your mom,

823
00:51:07,480 --> 00:51:10,920
Speaker 1: that's right, me talking to my mom. And thought, what

824
00:51:11,040 --> 00:51:13,959
Speaker 1: a great story this would be, What a great documentary

825
00:51:14,320 --> 00:51:17,120
Speaker 1: or something this would be. And it was when I

826
00:51:17,120 --> 00:51:19,360
Speaker 1: was living in New York, and so I then I

827
00:51:19,400 --> 00:51:22,440
Speaker 1: started getting into cameras with my friends, and so I

828
00:51:22,480 --> 00:51:27,360
Speaker 1: started filming her and getting footage of her telling stories

829
00:51:27,760 --> 00:51:30,560
Speaker 1: and then not knowing, thinking this could be a movie

830
00:51:30,600 --> 00:51:33,480
Speaker 1: this will be a movie when the time is right,

831
00:51:33,520 --> 00:51:35,040
Speaker 1: And I don't know when the time is right, but

832
00:51:35,080 --> 00:51:39,400
Speaker 1: I'm just gonna keep on amping up on this and

833
00:51:39,800 --> 00:51:41,520
Speaker 1: working with it. Because it was also a time to

834
00:51:42,760 --> 00:51:45,160
Speaker 1: get to know my mom, to document my mom, to

835
00:51:45,360 --> 00:51:49,080
Speaker 1: get to know who she was. And then over the

836
00:51:49,080 --> 00:51:52,160
Speaker 1: course of several years, I found other people who were

837
00:51:52,200 --> 00:51:55,480
Speaker 1: in our lives at that time, which was roughly nineteen

838
00:51:55,520 --> 00:51:59,480
Speaker 1: seventy nine and nineteen eighty four. Um. She worked there

839
00:51:59,480 --> 00:52:02,279
Speaker 1: from like any six to eighty four or something like that,

840
00:52:02,400 --> 00:52:07,240
Speaker 1: and so I found people that were in her life

841
00:52:07,440 --> 00:52:14,160
Speaker 1: and in our lives, and other other strippers, other bouncers,

842
00:52:14,200 --> 00:52:16,600
Speaker 1: other people who would work there. Where they are now.

843
00:52:16,800 --> 00:52:19,920
Speaker 1: Are they still alive, some aren't, some are. What happened?

844
00:52:20,640 --> 00:52:26,440
Speaker 1: And so I the film looks at the arcs of

845
00:52:26,480 --> 00:52:33,160
Speaker 1: these people. But really it's strangely a film about parenthood, um,

846
00:52:33,239 --> 00:52:38,319
Speaker 1: because what you're seeing are the the weird choices that

847
00:52:38,520 --> 00:52:43,560
Speaker 1: people make when they're young, and how it factors into

848
00:52:43,760 --> 00:52:46,319
Speaker 1: them raising their kids and they decided to get their

849
00:52:46,360 --> 00:52:51,120
Speaker 1: ship together, or when they just don't get their ship together, um,

850
00:52:51,200 --> 00:52:54,640
Speaker 1: and what happens. And so that was what was interesting

851
00:52:54,680 --> 00:52:58,440
Speaker 1: to me, and also a retrospective on strippers that are

852
00:52:58,440 --> 00:53:02,520
Speaker 1: now pushing seventy you know, and still friends. And there's

853
00:53:02,520 --> 00:53:07,640
Speaker 1: also this really strong bond between people who worked as

854
00:53:07,760 --> 00:53:12,920
Speaker 1: strippers together. UM. So I really found that interesting. UM.

855
00:53:12,960 --> 00:53:15,960
Speaker 1: And it was also another reason to work with my friends,

856
00:53:16,120 --> 00:53:19,719
Speaker 1: you know, our my closest friend, Casey Pinkston, who made

857
00:53:19,719 --> 00:53:23,959
Speaker 1: the film with me. And then also um, another reason

858
00:53:24,040 --> 00:53:26,600
Speaker 1: to hang out with your mom and then reconnect with

859
00:53:26,640 --> 00:53:29,360
Speaker 1: all these other people that you kind of know and

860
00:53:29,400 --> 00:53:33,799
Speaker 1: then didn't. Actually my um, I kind of have a

861
00:53:33,840 --> 00:53:36,600
Speaker 1: long lost brother, UM who's talked about in the film,

862
00:53:36,600 --> 00:53:39,719
Speaker 1: and he's actually here this week. Yeah, he was here.

863
00:53:39,760 --> 00:53:42,080
Speaker 1: He's here for a conference. We reconnected because of the

864
00:53:42,120 --> 00:53:48,080
Speaker 1: film for after the film and uh and um, anyway,

865
00:53:48,880 --> 00:53:50,919
Speaker 1: he came to town and staying with me and we're

866
00:53:50,960 --> 00:53:55,200
Speaker 1: hanging out and reconnecting this week. So did you So

867
00:53:55,320 --> 00:53:58,360
Speaker 1: did you grow up just going to the strip club? Well? Yeah,

868
00:53:58,400 --> 00:54:00,319
Speaker 1: I mean it wasn't like my mom took me there

869
00:54:00,320 --> 00:54:02,319
Speaker 1: for every shift or anything, to go pick up a

870
00:54:02,400 --> 00:54:05,799
Speaker 1: check or go play this or do that, stay you know,

871
00:54:05,960 --> 00:54:09,120
Speaker 1: be playing video games or you know, shooting pool, you know,

872
00:54:09,320 --> 00:54:14,080
Speaker 1: doing whatever inside the club after before hours or whatever.

873
00:54:14,880 --> 00:54:18,040
Speaker 1: And did you even think about that as weird, or

874
00:54:19,520 --> 00:54:22,040
Speaker 1: you don't when you're two three years old, you know,

875
00:54:22,080 --> 00:54:24,759
Speaker 1: it's just just going to work with your mom or

876
00:54:24,800 --> 00:54:30,080
Speaker 1: doing whatever you need to do. There's no reason behind things. Um.

877
00:54:30,160 --> 00:54:32,520
Speaker 1: But we actually went and did a private couple of

878
00:54:33,360 --> 00:54:36,080
Speaker 1: no they weren't their public screenings at the Red Dog

879
00:54:36,160 --> 00:54:39,600
Speaker 1: recently over the past month, and so we had these

880
00:54:39,960 --> 00:54:42,759
Speaker 1: We sold out to screenings in places huge, so it's

881
00:54:42,840 --> 00:54:45,960
Speaker 1: like hundreds on hundreds of people, and there were lines

882
00:54:46,000 --> 00:54:50,040
Speaker 1: and people. There was a real connection to the place

883
00:54:50,800 --> 00:54:55,880
Speaker 1: for Oklahoma's um, the Red Dogs in Oklahoma, and also

884
00:54:56,560 --> 00:54:59,560
Speaker 1: the response in other states and stuff too. I don't know,

885
00:54:59,600 --> 00:55:03,640
Speaker 1: I feel there's something there and it's likely going to

886
00:55:03,680 --> 00:55:07,680
Speaker 1: be released in the new year. In so we have

887
00:55:07,719 --> 00:55:13,160
Speaker 1: a plan that we can't quite unwrap yet, but there's

888
00:55:13,280 --> 00:55:16,000
Speaker 1: some some new teammates coming on board, and so we're

889
00:55:16,000 --> 00:55:18,040
Speaker 1: gonna put it out there in the new year. I

890
00:55:18,120 --> 00:55:20,239
Speaker 1: read in an interview that you did with someone you said,

891
00:55:20,280 --> 00:55:23,319
Speaker 1: for me, it's interesting to see your parents flailing about

892
00:55:23,400 --> 00:55:25,520
Speaker 1: his parents and to see that they were obviously just

893
00:55:25,640 --> 00:55:28,200
Speaker 1: figuring it out too. Like as a kid, you don't

894
00:55:28,239 --> 00:55:32,960
Speaker 1: think about that. You just think your parents know everything. Yeah,

895
00:55:33,160 --> 00:55:40,920
Speaker 1: the fact that your parents are actually fallible. Um, that

896
00:55:41,120 --> 00:55:44,319
Speaker 1: doesn't occur to you till later. Although my kids tend

897
00:55:45,760 --> 00:55:51,320
Speaker 1: they smell weakness, like bees or something like that. Um

898
00:55:51,400 --> 00:55:55,759
Speaker 1: My son calls me out on injustices and stuff all

899
00:55:55,800 --> 00:56:00,000
Speaker 1: the time. Of course, it's always a it's always a play.

900
00:56:00,080 --> 00:56:04,279
Speaker 1: It's a it's a play to get something else, you know,

901
00:56:04,600 --> 00:56:10,040
Speaker 1: seeing Ja, it's super super um advanced a bit of

902
00:56:10,200 --> 00:56:14,520
Speaker 1: cunning happening. But he that they these ones, the new

903
00:56:14,600 --> 00:56:20,960
Speaker 1: batch of kids, tend to smell fear. Yeah, they know

904
00:56:21,360 --> 00:56:25,120
Speaker 1: I'm flailing and don't know what to do. Were he

905
00:56:25,280 --> 00:56:28,520
Speaker 1: worried about putting this story out, like what people would

906
00:56:28,880 --> 00:56:31,000
Speaker 1: think about your childhood or what they would think about

907
00:56:31,040 --> 00:56:34,399
Speaker 1: your mom. I wasn't really worried about me. I mean

908
00:56:34,480 --> 00:56:39,440
Speaker 1: it was a a real conversation that I had with

909
00:56:39,480 --> 00:56:42,880
Speaker 1: my mom, and if that was something that she wanted

910
00:56:42,920 --> 00:56:46,160
Speaker 1: to do. I don't think she ever really believed that

911
00:56:46,200 --> 00:56:52,880
Speaker 1: I would finish the film or anything like that until Um,

912
00:56:52,960 --> 00:56:55,399
Speaker 1: we started doing a little bit of press in Oklahoma

913
00:56:55,960 --> 00:57:00,359
Speaker 1: and there was a Kickstarter campaign in which the free

914
00:57:00,400 --> 00:57:02,960
Speaker 1: press had gotten ahold of it and they were excited

915
00:57:02,960 --> 00:57:05,600
Speaker 1: about it. And then it became a little regional sensation

916
00:57:05,800 --> 00:57:11,600
Speaker 1: with the Kickstarter campaign and it was on um, you know,

917
00:57:11,760 --> 00:57:14,960
Speaker 1: radio stations and stuff without me having to publicize about it.

918
00:57:15,000 --> 00:57:17,840
Speaker 1: People really took an interest in it. And then she

919
00:57:18,040 --> 00:57:20,960
Speaker 1: was like, oh ship, it's like she had she had

920
00:57:21,000 --> 00:57:23,360
Speaker 1: to tell her boss and stuff like that, you know,

921
00:57:23,440 --> 00:57:32,240
Speaker 1: which anyone. So she, um, she's retired now, but she's

922
00:57:32,240 --> 00:57:35,400
Speaker 1: a nutritionist, and so she had to go. She went

923
00:57:35,440 --> 00:57:37,640
Speaker 1: and told her boss. You know, it's like, um, this

924
00:57:37,720 --> 00:57:41,280
Speaker 1: is happening, and this is what I'm gonna be doing.

925
00:57:41,320 --> 00:57:45,920
Speaker 1: Didn't they care? They just didn't say. You know, it

926
00:57:46,040 --> 00:57:49,880
Speaker 1: was a funny interaction that she described to me, and

927
00:57:50,080 --> 00:57:53,520
Speaker 1: she said, my boss just goes, that was not what

928
00:57:53,600 --> 00:57:56,040
Speaker 1: I was expecting. You don't want to talk to me about.

929
00:57:57,080 --> 00:58:00,120
Speaker 1: That's probably the last thing he would have thought. And

930
00:58:00,280 --> 00:58:04,120
Speaker 1: so that I think that's where they left the conversation.

931
00:58:04,480 --> 00:58:09,720
Speaker 1: He was like, Okay, cool, Yeah, what do you even say?

932
00:58:09,720 --> 00:58:15,520
Speaker 1: I guess so people in Nashville can see this October

933
00:58:15,920 --> 00:58:19,120
Speaker 1: fifth and six at the Nashville Films Festival, and then

934
00:58:19,200 --> 00:58:24,760
Speaker 1: what about the people who January follow me on Instagram,

935
00:58:24,760 --> 00:58:27,560
Speaker 1: Follow Luke Dick on Instagram because I'll blab about it

936
00:58:27,920 --> 00:58:31,200
Speaker 1: but also there's a website red Dog dot Film where

937
00:58:31,200 --> 00:58:33,959
Speaker 1: you can see a trailer. Now, the trailer is really good.

938
00:58:34,280 --> 00:58:37,320
Speaker 1: That is what got me so excited about this. Um,

939
00:58:37,360 --> 00:58:39,880
Speaker 1: I'm I'm really proud. I mean, I think up tonight,

940
00:58:39,920 --> 00:58:45,840
Speaker 1: it's such an undertaking to me, Um, I like, I

941
00:58:45,880 --> 00:58:48,240
Speaker 1: mean again, I'm trying to like what I'm doing, but

942
00:58:48,280 --> 00:58:51,840
Speaker 1: it's such an undertaking that I'm really proud of and

943
00:58:51,880 --> 00:58:53,920
Speaker 1: have spent a lot of time on. I've spending a

944
00:58:53,920 --> 00:58:55,880
Speaker 1: lot of time to try to get it out there

945
00:58:55,920 --> 00:58:57,960
Speaker 1: to public and the right way to do that and

946
00:58:58,000 --> 00:59:03,680
Speaker 1: how to all the details of um the film festivals

947
00:59:03,720 --> 00:59:07,320
Speaker 1: and stuff like that. So do you get the music too? Write?

948
00:59:07,320 --> 00:59:11,120
Speaker 1: And I made the soundtrack, and the soundtrack when we

949
00:59:11,200 --> 00:59:15,240
Speaker 1: release it, we'll have other artists on their Patrick Carney

950
00:59:15,240 --> 00:59:18,440
Speaker 1: from the Black Keys contributed and helped me produce some

951
00:59:18,520 --> 00:59:24,720
Speaker 1: of it, and um Um Miranda came and sang on

952
00:59:24,800 --> 00:59:26,960
Speaker 1: a song. And so I'm trying to get some other

953
00:59:27,040 --> 00:59:30,320
Speaker 1: people involved who are excited about the film and they're like, yeah,

954
00:59:30,400 --> 00:59:32,640
Speaker 1: let's do it. So hopefully by the time we get

955
00:59:33,080 --> 00:59:35,440
Speaker 1: to the new year and the soundtracks done, we'll have

956
00:59:35,520 --> 00:59:38,880
Speaker 1: a nice little cast of features. Me working with people

957
00:59:38,880 --> 00:59:41,520
Speaker 1: that I love and who I respect as artists and

958
00:59:41,520 --> 00:59:45,160
Speaker 1: who are a part of my little, my little up scrapbook.

959
00:59:47,040 --> 00:59:49,560
Speaker 1: So you guys keep up on the website, he said,

960
00:59:49,600 --> 00:59:52,640
Speaker 1: it's at Luke Dick on Instagram, Dick on Instagram. Then

961
00:59:52,760 --> 00:59:57,680
Speaker 1: you have your own website Luke Dick dot dot org. Well, um,

962
00:59:57,720 --> 01:00:01,000
Speaker 1: and then I was gonna say, go fund Republican Hair

963
01:00:01,200 --> 01:00:04,680
Speaker 1: where but it's fine, Steve, yeah, yeah, yeah, Well right

964
01:00:04,680 --> 01:00:07,360
Speaker 1: now we are making the transitions so you can still

965
01:00:07,440 --> 01:00:13,800
Speaker 1: find us. And what is it he's looking well on Spotify,

966
01:00:13,840 --> 01:00:16,480
Speaker 1: if you put in Republican Hair, it's still push that

967
01:00:16,840 --> 01:00:18,320
Speaker 1: it'll pull it up. But it's all going to switch

968
01:00:18,360 --> 01:00:21,160
Speaker 1: to sell well, it says Steve. Now it's all making sense.

969
01:00:21,520 --> 01:00:23,520
Speaker 1: Next week it's going to all switch to Steve. So

970
01:00:24,000 --> 01:00:26,720
Speaker 1: look up Steve the Band. Look up Steve the Band

971
01:00:27,200 --> 01:00:30,640
Speaker 1: and anything else. Are their shows coming off with you, guys. Um,

972
01:00:30,800 --> 01:00:33,360
Speaker 1: we're opening for the Kings of Leon this weekend. If

973
01:00:33,360 --> 01:00:37,120
Speaker 1: you're over the city, it is a free show. And

974
01:00:37,160 --> 01:00:40,840
Speaker 1: then we're playing in Tulsa and then I'm chilling out

975
01:00:41,000 --> 01:00:44,960
Speaker 1: for the rest of the year and finishing the soundtrack record,

976
01:00:45,480 --> 01:00:48,560
Speaker 1: doing a little bit of production. What's another artist, and

977
01:00:48,600 --> 01:00:54,480
Speaker 1: then also doing um writing songs with my friends. I

978
01:00:54,560 --> 01:01:00,480
Speaker 1: won't always looking for a song well can't wait to

979
01:01:00,520 --> 01:01:03,400
Speaker 1: hear them. So thank you for being here. I appreciate

980
01:01:03,440 --> 01:01:05,000
Speaker 1: you doing this, and thank you guys for listening. Go

981
01:01:05,160 --> 01:01:09,560
Speaker 1: check out Luke Dick, Steve, Republican Hair, Everything, Red Dog,

982
01:01:09,680 --> 01:01:13,640
Speaker 1: all of it. It's all exciting. Thanks for listening. This

983
01:01:13,800 --> 01:01:16,280
Speaker 1: is Kelly Henderson and you've been listening to the Velvet's

984
01:01:16,320 --> 01:01:19,680
Speaker 1: Edge podcast. I truly believe that every one of us

985
01:01:19,720 --> 01:01:22,360
Speaker 1: has a little velvet and a little edge, so it's

986
01:01:22,400 --> 01:01:25,200
Speaker 1: so important to remember that to be strong, you must

987
01:01:25,240 --> 01:01:28,080
Speaker 1: be soft too. Thank you so much for sharing in

988
01:01:28,120 --> 01:01:32,120
Speaker 1: those stories with me. You can follow Velvet's Edge on Instagram, Facebook,

989
01:01:32,120 --> 01:01:35,040
Speaker 1: and Twitter, as well as velvet's Edge dot com. If

990
01:01:35,080 --> 01:01:38,040
Speaker 1: you have it yet, go to Apple Podcast and subscribe,

991
01:01:38,200 --> 01:01:41,600
Speaker 1: rate and review this podcast. Join me every Wednesday for

992
01:01:41,720 --> 01:01:46,600
Speaker 1: more conversations on lifestyle, beauty, and relationships. Thanks for listening.