WEBVTT - Rufus Wainwright 0:00:01.880 --> 0:00:04.800 Hello everyone, and welcome to another episode of Inside the 0:00:04.840 --> 0:00:08.479 Studio on iHeart Radio. My name's Jordan Runtag, but enough 0:00:08.480 --> 0:00:12.400 about me. My guest today heralded his artistic arrival with 0:00:12.440 --> 0:00:17.599 his self titled debut, a gloriously maximalist affair that marked 0:00:17.640 --> 0:00:22.320 him as both wildly talented and wildly unclassifiable. His musical 0:00:22.360 --> 0:00:25.599 maturity and dramatic flair set him apart, and since then 0:00:25.600 --> 0:00:29.480 he's defied expectations with a series of unpredictable but always 0:00:29.560 --> 0:00:33.800 intriguing projects, not to mention always rewarding. When he titled 0:00:33.800 --> 0:00:36.680 his last album Unfollow the Rules, it seemed less like 0:00:36.720 --> 0:00:39.320 a name than a mission statement. He's one of my 0:00:39.440 --> 0:00:42.120 musical heroes, and now he's paying tribute to a musical 0:00:42.159 --> 0:00:45.960 hero of his own. He famously restaged Judy Garland's iconic 0:00:46.000 --> 0:00:48.720 Carnegie Hall show in two thousand and six, complete with 0:00:48.720 --> 0:00:51.800 a full band and a full audience. Now, in honor 0:00:51.840 --> 0:00:54.320 of what would have been a hundredth birthday, he's releasing 0:00:54.360 --> 0:00:57.639 a more stripped down affair backed by a jazz quartet. 0:00:57.840 --> 0:01:00.880 He recorded the tracks in Hollywood's A Story Capitol Record 0:01:00.960 --> 0:01:04.400 Studios for an added dose of authenticity. He even employed 0:01:04.400 --> 0:01:07.800 a microphone she'd once used. The scale down arrangements are 0:01:07.840 --> 0:01:10.400 mirrored by the scaled down audience. In this case, it 0:01:10.480 --> 0:01:14.000 was just one person. His friend Renee Zellwigger, who portrayed 0:01:14.040 --> 0:01:17.880 Garland in the two thousand nineteen film Judy My guest today, 0:01:17.880 --> 0:01:20.400 has done an equally stunning job and habiting the larger 0:01:20.400 --> 0:01:23.480 than life talent on this new record, Rufus does Judy 0:01:23.480 --> 0:01:27.120 at Capital Studios. I'm so happy to welcome Rufus. Wayne, Right, 0:01:30.720 --> 0:01:33.319 Judy one of my favorite topics. I know one of 0:01:33.360 --> 0:01:37.200 yours as well. Um, you've talked about really first embracing 0:01:37.920 --> 0:01:40.560 the Judy's Carnegie Hall album as a way of providing 0:01:40.640 --> 0:01:43.840 joy for yourself in the aftermath at nine eleven. Giving 0:01:43.880 --> 0:01:46.319 the last two years we've all had, I feel like 0:01:46.319 --> 0:01:48.880 we could all use a dose of that Judy Rufus 0:01:48.960 --> 0:01:52.400 magic right now. So I feel like the timing is perfect. Yes, yeah, well, 0:01:52.440 --> 0:01:54.440 I mean it wasn't actually nine eleven. It was it 0:01:54.520 --> 0:01:57.880 was the the invasion of Iraq, which which was after. 0:01:58.040 --> 0:02:01.440 I mean because right after nine eleven there was this moment, 0:02:01.880 --> 0:02:04.000 brief moment when it seemed like the world was going 0:02:04.040 --> 0:02:07.960 to come together and be you know, supportive of of 0:02:08.040 --> 0:02:11.480 the United States and try to heal from that, you know, tragedy. 0:02:11.600 --> 0:02:13.440 But then all the next thing, you know, we were 0:02:13.440 --> 0:02:16.200 invading Iraq, and it was just such a kind of 0:02:16.320 --> 0:02:20.640 non sequitur and uh, really traumatic experience that I still 0:02:20.880 --> 0:02:23.799 think believe we we you know, suffer the consequences of so. Yes, 0:02:24.080 --> 0:02:27.440 at that point, the Judy record became a reminder of 0:02:28.280 --> 0:02:31.440 sort of a slim reminder of of of of just 0:02:31.960 --> 0:02:34.120 the occasions where you know, the US can be a 0:02:34.120 --> 0:02:39.400 fabulous place and create you know, love and and and 0:02:39.400 --> 0:02:42.480 and brilliance and and and positivity. And yes, I think 0:02:42.520 --> 0:02:46.200 definitely today, in this day and age, especially even maybe 0:02:46.200 --> 0:02:50.440 even more than back then, at least domestically, Um, we 0:02:50.560 --> 0:02:54.600 are in a you know, a pretty sad predicament and 0:02:54.600 --> 0:02:56.960 and and and and we have to once again, you know, 0:02:57.520 --> 0:03:00.640 try to resurrect what what what makes this place a 0:03:00.680 --> 0:03:04.080 great place, the United States? I mean, just this, the 0:03:04.160 --> 0:03:06.600 spirit of this music, I feel like it's so so 0:03:06.720 --> 0:03:09.480 necessary and needed right now. And obviously your relationship with 0:03:09.560 --> 0:03:12.960 Judy Trance ends the Carnegie whole album. You have a 0:03:13.080 --> 0:03:15.519 very deep relationship with the song over the Rainbow, which 0:03:15.520 --> 0:03:18.040 you've been singing since you were a child. How did 0:03:18.040 --> 0:03:21.200 you first get in touch with with Judy? Yeah, well 0:03:21.240 --> 0:03:23.320 it's funny because I had there's a there's a sort 0:03:23.360 --> 0:03:26.120 of there's a classic story at this point in my 0:03:26.200 --> 0:03:31.799 life where, um, when I first met Laurena Left, uh, 0:03:31.840 --> 0:03:35.400 you know, Judy's daughter, I was, I think, and this 0:03:35.480 --> 0:03:37.800 is all on film. I believe somewhere I should find 0:03:37.800 --> 0:03:40.200 the footage anyways, but I one of the first things 0:03:40.240 --> 0:03:43.080 I said to her was, you know, somewhere the Rainbow 0:03:43.160 --> 0:03:48.800 was my song. I just sort of brazenly, you know, 0:03:49.160 --> 0:03:51.960 expressed that because you know, I I sang it since 0:03:52.000 --> 0:03:54.080 I was a little little kid, and you know, just 0:03:54.120 --> 0:03:56.320 totally missing the point that you know, it was actually 0:03:56.320 --> 0:03:59.520 written for her mother. So so um so yes, I've 0:03:59.520 --> 0:04:03.160 always had a very intense relationship to that piece of music, 0:04:03.480 --> 0:04:06.360 demandly because my mother taught it to me when I 0:04:06.400 --> 0:04:08.640 was very young, and she used and I guess my 0:04:08.880 --> 0:04:12.120 you know, rendition was so captivating that that, uh, it 0:04:12.200 --> 0:04:15.600 became a kind of weapon that she could use, you know, 0:04:15.640 --> 0:04:18.599 at parties and you know it either you know, you know, 0:04:18.839 --> 0:04:21.640 get people's attention or to you know, let's say, ended 0:04:22.080 --> 0:04:24.640 an evening you know where things have gotten a little 0:04:24.640 --> 0:04:28.160 too sloppy, so bring down the kid and I'm singing 0:04:28.200 --> 0:04:29.920 somewhere the Rainbow and then I could go to bed 0:04:30.040 --> 0:04:32.360 kind of thing. So so it was uh yeah, it 0:04:32.480 --> 0:04:37.440 had a whole range of of of of usages. I 0:04:37.560 --> 0:04:41.000 love your rendition on this new live album. I the 0:04:41.000 --> 0:04:45.200 the acapella opening was just yeah, that's well, that's very 0:04:45.279 --> 0:04:47.920 much an homage to my mother, Like it came mcgarriga, 0:04:47.920 --> 0:04:51.040 who sadly passed away over ten years ago. So so 0:04:51.200 --> 0:04:55.120 me saying because on the original Carnegie Hall album she's 0:04:55.160 --> 0:04:58.000 accompanying me solo on the piano and that the orchestra 0:04:58.080 --> 0:05:01.520 comes in, so it's it's a nod to at It's 0:05:01.760 --> 0:05:04.279 so beautiful. I mean, there's so many incredible moments on 0:05:04.400 --> 0:05:07.720 this record. I mean I wanted to ask you to me. 0:05:07.920 --> 0:05:10.320 Judy Garland is just one of the most compelling figures 0:05:10.320 --> 0:05:13.760 in entertainment. I mean, her talent, her strength, her stories. 0:05:13.880 --> 0:05:15.800 I love her movies and her albums. I love the 0:05:15.839 --> 0:05:19.520 autobiography tape she made where you just hear her fire. 0:05:19.640 --> 0:05:22.560 I just think it's so so captivating. What is it 0:05:22.600 --> 0:05:25.480 about Judy that that captivates you? Yeah? Well, I mean 0:05:25.520 --> 0:05:28.960 it started early, um, you know with the Wizard of 0:05:28.960 --> 0:05:31.159 Oz and all of that. But I will say that 0:05:31.200 --> 0:05:33.320 you know, there's a there's a there's a funny little 0:05:33.360 --> 0:05:36.440 family connection as well, because you know, my dad loud 0:05:36.440 --> 0:05:39.440 and Win right the third he was actually briefly or 0:05:39.880 --> 0:05:43.080 for for a couple of years, uh brought up uh 0:05:43.240 --> 0:05:47.480 in Um in Beverly Hills because his father, my grandfather, 0:05:47.680 --> 0:05:51.880 Loudon Jr. Was he was covering Hollywood for Life magazine 0:05:52.400 --> 0:05:55.400 and they they they they were friends with Judy Um 0:05:56.040 --> 0:05:58.520 and uh and and and in fact, Judy Garland I 0:05:58.560 --> 0:06:02.160 think babysat my dad or something and uh and him 0:06:02.200 --> 0:06:04.760 in lies that used to hang out as as when 0:06:04.800 --> 0:06:07.120 they were around ten years old. So so so there 0:06:07.200 --> 0:06:10.960 is actually a personal connection. Um. And I'm now you know, 0:06:11.080 --> 0:06:13.600 quite good friends with with Laurena as well. So it's 0:06:13.600 --> 0:06:16.000 been you know, a couple of generations here or three 0:06:16.279 --> 0:06:20.160 arguably and um. But but yes, in terms of her 0:06:20.240 --> 0:06:24.200 music and her um you know, star status and and 0:06:24.200 --> 0:06:26.599 and and the power of her, of her of her legacy. 0:06:26.680 --> 0:06:29.159 Yet know that that that hit me young and and 0:06:29.160 --> 0:06:31.120 then all through my life, you know, whether it was 0:06:32.000 --> 0:06:35.880 you know, my my trials and tribulations with addiction, or 0:06:36.200 --> 0:06:39.480 my desire to be like the best thing er possible, 0:06:39.600 --> 0:06:43.520 or my you know, just wanting to have a laugh. Um. 0:06:43.560 --> 0:06:45.560 You know, Judy Goldan was always there as a as 0:06:45.600 --> 0:06:49.320 a big kind of sorts. That's what is always fascinating 0:06:49.320 --> 0:06:51.800 about her. I mean to this hope and these bluebirds 0:06:51.800 --> 0:06:54.440 and rainbows in the face of these tremendous you know, 0:06:54.839 --> 0:06:57.760 personal demons and and just that that strength that she 0:06:57.839 --> 0:07:01.240 always displayed. You mentioned story with your father. I love 0:07:01.480 --> 0:07:05.600 your song me and Liza. I think it's an attribute 0:07:05.640 --> 0:07:09.720 to this. It's a great track, definitely, definitely so this album. 0:07:09.800 --> 0:07:13.320 You recorded the album at Capital and you use the 0:07:13.600 --> 0:07:17.800 mic she use, which that must have been just so special. 0:07:17.800 --> 0:07:21.200 I'm a huge believer in in places and artifacts being 0:07:21.520 --> 0:07:24.320 imbued with that energy. What was that like? Well, you know, 0:07:24.680 --> 0:07:27.680 on one hand, it was incredible, But I also feel like, 0:07:27.720 --> 0:07:29.920 on the other hand, it's quite common in the sense 0:07:29.960 --> 0:07:32.480 that you know, I've worked and I've worked in um 0:07:32.880 --> 0:07:37.440 amazing studios for years and and and in Hollywood, uh 0:07:37.640 --> 0:07:40.960 and Los Angeles, storry, all over the city. UM, and 0:07:41.040 --> 0:07:45.720 you know, a really amazing mic is often used, you know, 0:07:45.880 --> 0:07:48.720 so so because they don't make them like they used 0:07:48.720 --> 0:07:51.560 to do. And there is something very organic about that 0:07:51.600 --> 0:07:55.400 whole um world. And and so I'm pretty sure that 0:07:55.440 --> 0:07:56.960 a lot I've used a lot of mics that have 0:07:57.000 --> 0:07:59.600 been used by a lot of great people. Um. But yes, 0:08:00.120 --> 0:08:02.960 take that out and and really focusing on that for 0:08:03.040 --> 0:08:08.080 this recording. Was was was a was a wonderful experience. Um. 0:08:08.120 --> 0:08:10.200 And I think especially doing it in the room you 0:08:10.240 --> 0:08:13.120 know where where she where she recorded herself, you know, 0:08:13.560 --> 0:08:16.920 gave it an extra um kind of you know, sparkle 0:08:17.000 --> 0:08:19.840 but um. But yeah, but it's it's one of the 0:08:19.880 --> 0:08:21.920 perks of of of living in in in l A. 0:08:22.080 --> 0:08:24.720 You know, there are problems with this town, but there 0:08:24.760 --> 0:08:28.760 there are there are upsides too. I mean that room 0:08:28.800 --> 0:08:30.760 in that microphone that was at a concert of yours 0:08:30.800 --> 0:08:33.559 once and you describe yourself as the secret child of 0:08:33.640 --> 0:08:36.040 Judy Garland and Frank Sinatra. So I feel like being 0:08:36.080 --> 0:08:38.640 in that room is perfect right, Yes, Yes, I was, 0:08:38.880 --> 0:08:42.800 I was. I was born in that room. Do you 0:08:42.840 --> 0:08:45.640 came out I came out of an amplifier, an old 0:08:45.640 --> 0:08:50.080 tube amplifier. Yeah. Classic. Did you own any any artifacts 0:08:50.120 --> 0:08:55.840 of Judy's Um? Do I own any artifacts of chitties? Uh? 0:08:55.960 --> 0:09:01.040 You know, I don't. Um. I I do have a 0:09:01.120 --> 0:09:05.040 signed copy of of of her of her you know, 0:09:05.160 --> 0:09:10.079 Carnegie Hall record she signed, UM, I don't the one 0:09:10.120 --> 0:09:14.199 that I you know, I was very close to Carrie Fisher. Um. 0:09:14.280 --> 0:09:19.360 So I have some you know, um some some some 0:09:19.480 --> 0:09:21.520 of her stuff, but uh and and some stuff of 0:09:21.559 --> 0:09:23.920 her mother's but but nothing of Judy's yet. I'd like 0:09:23.960 --> 0:09:26.040 to get what I'd love to get as a compact. 0:09:27.000 --> 0:09:29.400 I'm I'm a collector of compacts. I had quite a 0:09:29.400 --> 0:09:33.040 few compacts of famous opera singers, uh, like you know, 0:09:33.600 --> 0:09:37.000 Jane Caspan, Victoria de Los Angeles, so, you know, for 0:09:37.120 --> 0:09:39.760 makeup and stuff. So maybe I'll maybe I'll ask Laurena 0:09:39.760 --> 0:09:44.720 if she could you know one day. Wantemplate that as 0:09:44.760 --> 0:09:47.560 a as a gift of sorts, or I'll pay get 0:09:47.640 --> 0:10:02.960 up something I love. I watched the the Virtual Concert 0:10:03.000 --> 0:10:05.400 when this was recorded, and I love that your your 0:10:05.440 --> 0:10:09.439 micro audience consists of Renais l Wigger obviously is a 0:10:09.480 --> 0:10:14.240 dear friend of yours and brilliantly portrayed Judy. And I 0:10:14.360 --> 0:10:16.440 was wondering when she was in the midst of making 0:10:16.440 --> 0:10:19.800 that film, did you both talk about you know, but 0:10:20.040 --> 0:10:22.720 kind of getting inside Judy at all. I mean, we 0:10:22.840 --> 0:10:26.199 we had a we had a couple of interactions, but 0:10:26.200 --> 0:10:28.440 but she had already really made the film at that point. 0:10:28.480 --> 0:10:30.520 You know, this was when we were she was working 0:10:30.559 --> 0:10:35.360 on the album, uh from the movie. But uh, you know, 0:10:35.880 --> 0:10:38.920 I yes, we had a couple of conversations of sort 0:10:38.920 --> 0:10:41.120 of the act, but it was mostly about the aftermath 0:10:41.200 --> 0:10:45.400 of having you know, inhabited her her her spirit and 0:10:46.760 --> 0:10:48.720 so so yeah, it was, it was, it was, It 0:10:48.760 --> 0:10:51.640 was really um wonderful. But but but in terms of 0:10:51.679 --> 0:10:54.840 like when when you know, when she began that process, 0:10:54.840 --> 0:10:57.320 you know, I think she was. She's a she's a professional, 0:10:58.440 --> 0:11:02.440 she knows that she's doing, doesn't need my help. I think. 0:11:02.800 --> 0:11:05.520 Referring to the the original concert you did in in 0:11:05.600 --> 0:11:08.320 OH six, you described it as an exorcism of sorts. 0:11:08.400 --> 0:11:10.720 I was. I thought that was a really interesting choice 0:11:10.720 --> 0:11:13.160 of words. I wanted to ask you more about that. Yeah, 0:11:13.200 --> 0:11:16.760 I know, it was very much a kind of um celebration, 0:11:16.800 --> 0:11:19.520 but yes, and an exorcism as well. I had sort 0:11:19.520 --> 0:11:23.080 of um moved to Hollywood to make my first album, 0:11:23.120 --> 0:11:25.880 and and and and brought along my you know, Judy obsession, 0:11:27.120 --> 0:11:30.360 uh as well, And and I kind of went on 0:11:30.400 --> 0:11:33.360 and on and on and and and then. Uh yeah, 0:11:33.400 --> 0:11:36.560 at a certain point when I decided to do the 0:11:36.559 --> 0:11:39.400 the Carnegial concert, I I think I was, I was 0:11:39.440 --> 0:11:43.240 just ready for another stage in my life, uh where 0:11:43.280 --> 0:11:46.920 I could sort of, um, I don't know, just uh 0:11:47.040 --> 0:11:50.800 focus on on on on on other kind of legacies, 0:11:50.800 --> 0:11:55.040 shall we say. Um and uh and so I I 0:11:55.040 --> 0:11:58.280 I and I did. Actually after after that series of concerts, UM, 0:11:58.920 --> 0:12:02.880 I feel less kind of you know, um inclined to uh, 0:12:02.920 --> 0:12:05.480 you know, to to to buy a Judy Garland record 0:12:05.880 --> 0:12:07.680 whenever I would go to a record store, which was 0:12:07.880 --> 0:12:10.000 which I used to do all the time. Um. And 0:12:10.040 --> 0:12:12.880 It's also interesting is that when I did the tenth 0:12:12.920 --> 0:12:17.000 anniversary concerts UM at both Carnegie Hall and also in 0:12:17.080 --> 0:12:21.679 Toronto with an orchestra, UM, the minute I started them, UM, 0:12:22.240 --> 0:12:27.280 I instantly felt nothing like Judy Garland. I really did 0:12:27.320 --> 0:12:31.840 feel much more like my dad, Frank Sinatra. Um and 0:12:32.000 --> 0:12:35.040 you know, had this had more of a masculine um 0:12:35.280 --> 0:12:39.520 kind of approach, kind of more tougher uh delivery, shall 0:12:39.559 --> 0:12:42.800 we say. But but what's nice is it now with 0:12:42.920 --> 0:12:45.920 this recording that I did it. But we did at 0:12:45.920 --> 0:12:49.960 Capital Studios and and so forth. Um, I think I 0:12:49.960 --> 0:12:52.400 feel like she's returned. You know, I feel like there's 0:12:52.559 --> 0:12:56.720 there's sort of I'm maybe more channel challenge, channeling her 0:12:56.920 --> 0:13:01.080 her studio work and her um and her kind of 0:13:01.320 --> 0:13:04.080 how can I say, at her her kind of almost 0:13:04.080 --> 0:13:09.959 medical or uh find you know, attention paid to to 0:13:10.080 --> 0:13:13.600 the songs. You know, there's a clinical um precision, ability, 0:13:13.640 --> 0:13:16.520 precision that she had or with singing that that's that's 0:13:16.559 --> 0:13:19.600 captured in her studio work. So so yeah, So it's 0:13:19.600 --> 0:13:22.160 so she's back. Oh That's one of the things that 0:13:22.200 --> 0:13:24.439 I think is so amazing about these arrangements that are 0:13:24.480 --> 0:13:26.960 more stripped down. It doesn't have the thirty six piece orchestra, 0:13:27.200 --> 0:13:30.199 but a small jazz combos. I feel like there's there's 0:13:30.240 --> 0:13:32.680 more room for the emotion to shine through, and we 0:13:32.679 --> 0:13:35.840 can hear kind of every breath of and pause of 0:13:35.880 --> 0:13:38.040 yours more And I think that that makes it. It 0:13:38.120 --> 0:13:41.200 adds a level of I don't know what the right 0:13:41.240 --> 0:13:43.160 word is. Darkness is certainly not the word I want 0:13:43.160 --> 0:13:49.040 to use. But there's you can step depth, which which 0:13:49.120 --> 0:13:53.439 is uh yeah, I I you know, I think it's 0:13:53.440 --> 0:13:55.760 a combination of things. It's both doing it in the studio, 0:13:55.840 --> 0:13:58.040 but also the fact that I've now been singing these 0:13:58.080 --> 0:14:01.200 songs for almost twenty years. So there they are, you 0:14:01.240 --> 0:14:05.400 know very much, and and encrusted in my bones and stuff. 0:14:05.480 --> 0:14:10.120 And wish Judy had when she did her Carneie Hall show. 0:14:10.160 --> 0:14:12.720 That was always something that um that I feel like 0:14:12.760 --> 0:14:16.640 I was, you know, I just I could never you know, match, 0:14:17.360 --> 0:14:19.120 But now that I feel like I can make me 0:14:19.280 --> 0:14:22.120 match on certain numbers, not all of them by any means, 0:14:22.160 --> 0:14:24.640 but on certain ones. You know, those songs I have 0:14:24.760 --> 0:14:27.600 made my own some of them. Is it in a 0:14:27.680 --> 0:14:30.040 sense because you you've lived some of them in a way, 0:14:30.040 --> 0:14:33.520 as suddenly those experiences are are more personal to you. Yeah, well, 0:14:33.560 --> 0:14:36.400 I mean they're also you know, you know, there are 0:14:36.440 --> 0:14:39.680 love songs, and there are also songs about survival and 0:14:39.760 --> 0:14:46.560 songs about you know, sentimental um thoughts and and and 0:14:46.680 --> 0:14:49.960 uh so, yes, I think as you get older, you 0:14:50.160 --> 0:14:53.400 um yeah, you start to you know, things become more 0:14:53.520 --> 0:14:58.120 precious and more valuable and and more fleeting and and 0:14:58.240 --> 0:15:00.920 uh and and so therefore or a little bit more 0:15:01.480 --> 0:15:04.320 you know sad. So so so it's just to the songs, 0:15:04.440 --> 0:15:07.440 I could sort of imbue the song with that and 0:15:07.440 --> 0:15:09.680 That's the thing that always blows me ways that all 0:15:09.680 --> 0:15:12.520 I've I've reached to put on your your live album 0:15:12.880 --> 0:15:15.360 or Horror original live one as well, over the years. 0:15:15.640 --> 0:15:17.280 And you know, I'll put it on when I want to, 0:15:17.360 --> 0:15:20.080 you know, hear, when I feel a little nostalgic and 0:15:20.120 --> 0:15:21.560 I want to hear you know, almost like being in 0:15:21.600 --> 0:15:23.360 love or something and feel a little up, and I'll 0:15:23.360 --> 0:15:26.720 put it on. And I'm always blown away by the 0:15:26.920 --> 0:15:29.400 power of it and just struck by the path it's. 0:15:29.560 --> 0:15:32.040 Is that just the depth of it is. It's so 0:15:32.440 --> 0:15:35.520 you know, you you expect some you know, some some levity, 0:15:35.560 --> 0:15:39.320 but I'm always it's always becomes a something that you 0:15:39.360 --> 0:15:41.080 can't put on in the background. Let me put it back, 0:15:41.360 --> 0:15:44.520 something that demands your attention. Yes, well, that's that's interesting 0:15:44.520 --> 0:15:46.320 to bring that up, because I think, on one hand 0:15:46.760 --> 0:15:50.239 that has been my greatest asset and also my greatest attraction. 0:15:50.920 --> 0:15:53.200 Why is that, well, in the sense I mean like 0:15:53.440 --> 0:15:56.600 the music that I've I've created, whether it's my Judy 0:15:56.600 --> 0:16:00.520 Garland work or my other albums for that matter, Um, 0:16:00.560 --> 0:16:03.000 you know, yes, you cannot put them in the background, 0:16:03.040 --> 0:16:06.440 and and they demand a certain amount of attention, and 0:16:06.480 --> 0:16:09.800 that that works great. You know if you're into music 0:16:09.840 --> 0:16:11.280 and you want to kind of go on that journey. 0:16:11.280 --> 0:16:12.680 But if you just want to sit around and have 0:16:12.720 --> 0:16:16.320 a cup of coffee or be watch a commercial and 0:16:16.360 --> 0:16:20.880 focus on you know, the car, uh, then uh, then 0:16:20.960 --> 0:16:24.280 my music is it can be problematic because because because 0:16:24.320 --> 0:16:29.760 it does demand all everyone's attention so so um so yeah, 0:16:29.880 --> 0:16:32.840 it's it's something that I've always tried to juggle, you know. 0:16:33.240 --> 0:16:35.480 And uh, you know, let's just say that we don't 0:16:35.520 --> 0:16:39.720 live in necessarily the most um kind of thoughtful period 0:16:40.040 --> 0:16:45.200 of time and and uh yeah, so it's it's a struggle. 0:16:45.200 --> 0:16:47.160 But but on the other hand, I think for those 0:16:47.200 --> 0:16:50.680 who who do appreciate that and who are willing to 0:16:51.000 --> 0:16:53.880 um go on the journey with me, you know, they're there, 0:16:53.920 --> 0:16:57.400 they become very loyal and and uh and and and 0:16:57.560 --> 0:17:00.280 they keep coming back. So it's that's how that's how 0:17:00.320 --> 0:17:02.720 it works for me. I feel like I owe you 0:17:02.800 --> 0:17:05.959 a huge thanks as a as a music fan, I 0:17:06.000 --> 0:17:08.840 was always aware of this concert and in its place 0:17:08.920 --> 0:17:11.480 in pop culture history, but it really wasn't until Your 0:17:11.520 --> 0:17:13.399 Rendition in two thousand and six and the album came 0:17:13.440 --> 0:17:15.480 out and the following year that I delved into this 0:17:15.560 --> 0:17:18.520 catalog and absorbed these songs, and I was wondering how 0:17:18.600 --> 0:17:20.760 much of that was a motivating factor for you to 0:17:20.840 --> 0:17:23.359 kind of pass these songs along to people that you 0:17:23.400 --> 0:17:26.000 know might not know him. You know, that's a whole 0:17:26.119 --> 0:17:31.080 uh subject on its own. Um. The you know the 0:17:31.119 --> 0:17:34.959 fact that that that that period in American songwriting is 0:17:35.080 --> 0:17:39.480 arguably the you know, kind of the golden era of 0:17:39.480 --> 0:17:44.440 of American music. Um. Whether it's you know, the the 0:17:44.600 --> 0:17:47.480 arrangements or the lyrics or the melodies. You know that 0:17:47.480 --> 0:17:49.840 it seemed like everything was working at full speed at 0:17:49.840 --> 0:17:54.800 that time. UM and uh so so yeah, I I 0:17:54.800 --> 0:17:59.320 I very much consider it kind of a legacy that 0:17:59.320 --> 0:18:01.960 that that as an as an American and I'm both 0:18:02.040 --> 0:18:05.080 the Canadian and American, but but on my American side, 0:18:05.359 --> 0:18:08.960 you know, I it's important to m celebrate and try 0:18:09.000 --> 0:18:13.240 to match, you know, uh, whether it's with your singing 0:18:13.359 --> 0:18:16.000 or your or your songwriting, um, for so that we 0:18:16.000 --> 0:18:21.040 can continue this um you know this uh excellence um 0:18:21.160 --> 0:18:24.960 and uh and so forth. Do you feel in any 0:18:24.960 --> 0:18:27.720 way that you've come to understand Judy any better having 0:18:27.920 --> 0:18:35.520 gotten insider for these songs and these performances. Uh? Well, 0:18:35.760 --> 0:18:40.840 I mean, I I do feel that there's a through 0:18:40.880 --> 0:18:44.040 this performances and the songs. I mean I I do 0:18:44.240 --> 0:18:47.400 under I am constantly and this hasn't really changed over 0:18:47.440 --> 0:18:53.440 the years. You know. Amazed by her technical ability in 0:18:53.680 --> 0:18:56.719 the sense not so much innurse singing. I mean she's, yes, 0:18:56.800 --> 0:18:59.560 she's an incredible singer, and she cuts the corners and 0:18:59.560 --> 0:19:02.800 and that's fantastic, but justn't know her whole presentation, you know, 0:19:02.840 --> 0:19:05.280 how how how how she really knew how to move 0:19:05.920 --> 0:19:08.399 on stage, you know, how she where where her gaze 0:19:08.480 --> 0:19:11.280 was focused her and because she was an incredible dancer, 0:19:11.440 --> 0:19:15.520 you know. Um, and so just that whole kind of 0:19:15.600 --> 0:19:19.720 training thing which which which in my in our day 0:19:19.760 --> 0:19:23.280 and age, is so lacking you know, uh in terms 0:19:23.320 --> 0:19:26.959 of the entertainers today. Um, though some could do it, 0:19:26.960 --> 0:19:31.480 you know when you you know, justin Bieber, you know, uh, 0:19:31.840 --> 0:19:34.040 Lady Gaga, you know, they they you know, they worked 0:19:34.040 --> 0:19:37.080 really hard on the full package. So so that's so 0:19:37.119 --> 0:19:39.720 it's not dead or anything, but but hers is so 0:19:39.800 --> 0:19:43.680 effortless and so kind of I don't know, elegant, and 0:19:43.920 --> 0:19:47.240 uh so there's that, but but in terms of actually 0:19:47.280 --> 0:19:51.600 talking to people who knew her um and worked with her. Um, 0:19:52.040 --> 0:19:55.720 I am. I am always fascinated by how I think 0:19:55.720 --> 0:19:58.520 her personality was very different from from that which the 0:19:58.560 --> 0:20:01.760 public expected, you know it was I think she was 0:20:01.920 --> 0:20:04.679 I think she was a lot sort of dirtier in 0:20:04.720 --> 0:20:06.760 the sense like she was she was kind of she 0:20:06.840 --> 0:20:10.680 had a real kind of uh, how can I say, 0:20:10.720 --> 0:20:16.440 this wicked streak in her that was hilarious but also 0:20:16.560 --> 0:20:22.439 pretty you know, uh, scary if you were you know, 0:20:22.480 --> 0:20:25.119 in the line of fire and uh and there was 0:20:25.160 --> 0:20:27.520 this kind of you know, punk rock thing about her 0:20:27.640 --> 0:20:31.919 that um that is always you know, I don't know, 0:20:32.000 --> 0:20:35.800 pretty pretty, fascinating and uh and and makes me of 0:20:35.840 --> 0:20:38.840 course appreciate her more. Oh yeah, And I don't know, 0:20:38.880 --> 0:20:42.360 I don't she was not a good girl. I mean, 0:20:42.359 --> 0:20:44.360 what's those interviews with her? You know, I think it's 0:20:44.359 --> 0:20:46.719 Steve Allen that she's all She gives these great interviews, 0:20:46.760 --> 0:20:49.800 but she tells these stories and they're there. She's rowdy 0:20:49.840 --> 0:20:53.159 on network TV in the early sixties. It's incredible she is. 0:20:53.320 --> 0:20:55.560 And I think that that's just the tip of the iceberg. 0:20:57.280 --> 0:21:00.160 So interesting, so multifaceted. And I do want to say, 0:21:00.160 --> 0:21:04.160 as somebody who's senior, perform a number of times for 0:21:04.240 --> 0:21:08.800 twenty years. Oh my god, yeah, twenty years. Um. I 0:21:08.840 --> 0:21:12.280 truly believe as a fan you have you possessed that effortlessness. 0:21:12.320 --> 0:21:15.080 I don't know how you you do what you do, 0:21:15.200 --> 0:21:18.359 you have this ability to I saw you at Lupo's 0:21:18.440 --> 0:21:22.359 Heartbreak Hotel and Rhode Island in two thousand three. I believe, 0:21:22.720 --> 0:21:24.600 and it felt like you were saying I remember I 0:21:24.640 --> 0:21:26.119 was there with a dear friend of mine and we 0:21:26.320 --> 0:21:27.960 were driving home after he said, Oh my god, it 0:21:27.960 --> 0:21:30.119 felt like he was singing to us. And I feel 0:21:30.119 --> 0:21:33.000 like that's something that that Judy and all the greats 0:21:33.040 --> 0:21:35.760 have where you just connect with everybody in the audience 0:21:35.760 --> 0:21:40.240 and I um, so well, thank you. Um. This Judy 0:21:40.560 --> 0:21:43.719 uh concert was the finale of your I have to pause. 0:21:44.320 --> 0:21:48.560 Rufus Well, Rufus Retro Wayne Right spective. There we Go 0:21:48.720 --> 0:21:51.080 was the finale of you Rufus Retro Wayne Right spective 0:21:51.280 --> 0:21:54.840 where you revisited all your past albums. Um. We actually 0:21:54.880 --> 0:21:57.440 spoke soon after you started doing these shows in early 0:21:58.240 --> 0:22:01.119 for your debut and poses. I want to ask you 0:22:01.200 --> 0:22:04.280 what is your relationship like to these earlier songs? Now? 0:22:04.320 --> 0:22:07.040 Do you recognize that person who wrote them and recorded them? 0:22:07.119 --> 0:22:10.040 Or is it like looking at an old school photo. No, 0:22:10.160 --> 0:22:13.120 I mean I know that they're all very I do. 0:22:13.240 --> 0:22:16.280 I do recognize that that person. I mean I tend 0:22:16.320 --> 0:22:22.800 to subscribe to a more kind of Hindu type explanation 0:22:22.880 --> 0:22:26.200 of existence. I'm not I'm not Hindu, but but there's 0:22:26.280 --> 0:22:29.560 they they for instance, and I'm really you know, butchering 0:22:29.600 --> 0:22:34.119 this whole concept. Um. But you know, essentially they believe that, 0:22:34.160 --> 0:22:35.960