20 Burst results for "Rick Rubin"
Design Matters with Debbie Millman
"rick rubin" Discussed on Design Matters with Debbie Millman
"Or accomplishment stay with you after you make something you're proud of? In the moment that it happens, I feel the excitement of like, there it is. Like when I say as soon as I let it out into the world, I usually don't think about it again. I'm doing things like reading the reviews of the book. This is the first time I've ever written a book. It's the first time my name has been on the front of something. My name's always on the back. In some ways, this is my first project, even though I've made hundreds of things over the course of my life. So I'm treating it in a different way than anything else I've done before. Really out of the curiosity of just like, how does this work? What does this feel like? What's going on? And luckily I've been in a place where I can read someone say something really beautiful and I can see oh I understand what they see in it and that's beautiful and then I could read someone who hates it and I can laugh, it's like wow, they don't get it at all. I feel bad for them for me it's beautiful and I know for some people it's beautiful so I feel bad if someone doesn't feel it. But again, not everything's for everybody. It's one of the things I love so much about Seth godin. Seth really instills this idea of finding your tribe. Finding whatever size it is, the people who like what you do, that's your audience, and if you cater to them, when I say cater to them, meaning you make the things you want to make that they like. Catering to them can be misinterpreted as like you're making what they want. No, no, no. You're making what you want. And they are the right audience. They feel they feel what you're doing. Whatever size that is, and then on occasion, out of that, something transcends that small tribe and has a universal appeal. That's all we could ever do. There's no, you can't aim for any more than really yourself first. Yourself and the one friend that you feel good enough about playing it for that tells you, okay, I'm ready for this to be seen by someone and then you know, okay, this is time for this to be seen. Or you can say, I'm going to work on it a little more, see what happens. Working in a little more, if it gets better, great. If it gets worse, okay, there it is. Let's start the next one. Let's send this out into the world and start the next one. Yep. I learned something recently about the musical artist Drake, very popular rapper, and I learned that over the course of the year he put out 80 songs, Edo. Now he's one of the biggest artists in the world, he doesn't put out an album every year. But he put out 80 songs, many of which I'm thinking other than the hardcore Drake fans, never heard. It's not like the batting average is high, he's taking a lot of swings all the time. I didn't know that. I only know the ones that everybody knows. I thought it was fascinating, so even when you'd think you're under the microscope because the whole world is watching because you're at the top of your game. There's 80 songs that argue otherwise. Rick Rubin,
Design Matters with Debbie Millman
"rick rubin" Discussed on Design Matters with Debbie Millman
"Ted audio collective. We can be guided in the same way that a hummingbird is guided. To build a nest. The same way we can get back to our true connection if we get out of our own way. From the Ted audio collective, this is design matters with Debbie millman. For 18 years, Debbie millman has been talking with designers and other creative people about what they do, how they got to be who they are and what they're thinking about and working on. On this episode, record producer Rick Rubin talks about his book on creativity. It's the first time my name has been on the front of something. My name's always on the back. When the celebrated record producer Rick Rubin decided to write about making great art. He created a book about how to be in the world. This is because he believes, as I do, that life itself is a creative act. Rick Rubin has won 9 Grammy Awards and over the years he has produced a who's who of musical artists from the Dell to the Beastie Boys, Red Hot Chili Peppers, Johnny Cash, and Jay-Z. His range is vast and his talents are many. They also include prose, this man can really write. Rick's latest creation is a rich meditation and love letter of sorts to creativity, and it just debuted at the very top of The New York Times Best Seller list. Its titled the creative act, a way of being, and we're going to talk all about it and more in our conversation today. Rick Rubin, welcome to design matters. Hello, pleasure meeting you.
Broken Record
"rick rubin" Discussed on Broken Record
"Sure to check it out. You can subscribe to our YouTube channel at YouTube dot com slash broken record podcast. We can find all of our new episodes. You can follow us on Twitter at broken record. Broken record is produced with help from Leah rose, Jason gambel, Ben holiday, Eric Sandler, Jennifer Sanchez, our editor Sophie crane, our executive producer, is Mila bell. Broken record is a production of pushkin industries. If you love this show and others from pushkin consider subscribing to pushkin plus. Push can plus is a podcast subscription that offers bonus content and uninterrupted ad free listening for four 99 a month. Look for push plus on Apple podcast subscriptions. And if you like our show, please remember to share rate and review us on your podcast app. Our theme music by Kenny beats, I'm Justin Richmond.
Broken Record
"rick rubin" Discussed on Broken Record
"In the context of all those ones, it's one of the ones that it pops in this kind of strange way in this haunting in a way you don't. And now I understand why. He's singing it with a completely different intention that I imagined. Yeah, and if you listen to the original song, it's unbelievable. When I say the original, the popular version because the popular version is not the original either. It was written by Ewan McCall, and it's an Irish folk song, and if you've ever heard the Irish folk song version of it, it's almost like a yodel, you know, it's very unlike all the versions that were familiar with. I realized when I read that as well that I have a version of that, which is years and years ago, I sat down on an airplane next to a guy who happened to be reading one of my books, and I had his very, very long conversation with him. And he was, I still remember what he did. He opened his job was to go around the country opening Trader Joe's. He was coming from New York, they were opening the store like in Brooklyn or something, and he'd just been in Brooklyn for a month. Lived in Atlanta, had two kids, respect 30, 8 years old, business school degree, I think. Maybe not. Anyway, I just lovely chat with him. And I realized, oh, that's my reader. And every time I'm stuck, I think about him. Beautiful. It's for him. He was beautiful. And he said, 'cause he only read, he told me. He said, I'm very, very busy. I teach Sunday school, I'm a coach in my kids little league, and I have this job, which is very demanding. I have time to read three books a year. And I realized, oh, and he's chosen, one of mine, I'm one of his three, which is like phenomenally flattering thing. And I realized, oh, if I can keep being one of his three books every year, then I
Broken Record
"rick rubin" Discussed on Broken Record
"Very small parochial version. Governed not just by the rules and potentials of the board, but by our own assumptions, habits, practices, cultural and I actually kind of love that about us. In other words, that we've colonized that humanized and brought all of our kind of heart rending limitations, even to something like a board game. That's very moving to me. The computer has the chilly and personal version of go. And this reminds us, we're not playing the Chilean personal version. Our go bears the imprint of our own limitations and cultural specificities. And I find that really endearing. Great. But it's funny, we both see the same thing and are moved by it. I don't think what I'm saying about you saying are incompatible. I think they're actually compelling. No, no, no. I think they're almost opposites and the fact that they are both something to fall in love with about the story is amazing. I love that. Yeah. But this is actually something that you, what I've just described is something you do a lot in this book, which is there are a lot of moments where it appears that you're making points that contradict each other, but you're not. This is the furthest from black and white. This book, there is a lot of this kind of Ying Ying and Yang unit. I thought was really very, very you. It's not like you do it this way, not this way. Like the necessity of being both inwardly sensitive and outwardly sensitive, it's not one or the other. It's like, there's a balance that you have to kind of observe. We'll be right back with the rest of mountain gladwell and Rick Rubin's conversation, after a quick break. Hi, I'm Barry Edelstein, artistic director of the old globe in San Diego, one of the country's leading Shakespeare theaters. My podcast, where there's a will finding Shakespeare from the globe and pushkin industries
Broken Record
"rick rubin" Discussed on Broken Record
"They want the creator. It's a way of looking into the mind or heart of the creator. They don't want some abstract thing that fits every criteria of perfection, right? We're looking for, you know, to give the example back of when I was went through my period where I was obsessively reading Michael Lewis and Janet Malcolm. Jenna Malcolm's a good example of this or both. When you read them, you feel like you know the two of those writers when you read their writing. At the end of a Michael Lewis book, you feel like you've been hanging out with him and have a window into his world. Jenna Malcolm's books are weird and quirky and sometimes disturbing, but you love that because you're like, oh, she's such a kind of fascinating character. And my worry when I was reading them was that people weren't having that, that was not the experience my readers were having. That they were getting they were getting something that was too abstract. They were getting information, but not that kind of the only getting me, you know, it took a long time. We're talking about that thing I've describing was 20 years into my writing career. And what you're talking about is really moving away from classical journalism. Yeah. Because my understanding of journalism is, the writers invisible. It's only the story and it's just, you know, just the facts, that's all it is. So in a way, this would be a bastardization of journalism, but that's why it's engaging, and that's why it's interesting, and that's why it's popular. It's not regular journalism. It's journalism through your filter, the personal filter. There's a documentarian named Nick Broomfield who I love who makes these crazy movies. He tends to pick outrageous characters to focus on, but he always ends up part of the movie. And usually when documentarians make a movie, you just see the subject, but he ensconced himself into the finds a way to insinuate himself into the story. And it's wild and bizarre and it's unusual for the director of a documentary to become a main character in every one of the documentaries he makes about different people. It's fascinating. Yeah. So I love it. Yeah. Wait, a couple of other things I want to make sure. You had a civil section that I loved when you're talking about AlphaGo. The AI software system that was designed to master the game of the Japanese game of go and how there's this famous showdown between
Broken Record
"rick rubin" Discussed on Broken Record
"It was out of love and inspiration, and it was an upward spiral between them of inspiring reaction, and spiral reaction, in spite lifting the level, lifting the level. They made each other better. They weren't trying to beat each other. It was different than that. They loved each other. Yeah. Explain to me, it's sort of obvious, but I'd love for you to talk about it. Why is it important that it comes out of love and not competition? What is it about a competitive drive that is more limiting than a drive of love? Well, first of all, we're talking about majority of what we're talking about is art. And the way that I see art is it really is about our own self expression. So I'll give you an example. I just wrote a book. You write a lot of books. The idea of Rick's book competing with Malcolm's book is an insane idea. You write a Malcolm book, I write a Rick book. No one but Malcolm can write a Malcolm book, no one but Rick can write a Rick book. They're mutually exclusive things. Everything is like that. So if you're focused on beating someone else, it makes me think you're not actually playing the same game that I'm playing. The game that I'm playing is I want to make the best thing that I can make for me. That's all. And if someone else likes it, it's great. There's a chapter in the book about success, which is success is when you feel good enough about it, a piece of work you've made. To share it in the world. That's the moment of success, whatever happens after that is completely out of our control. But the moment that you sign off, it's like you're okay, here we go. And then move on to your next project, that's where success lies. So to work on a vibration of competition, it's one thing if it's about running a race, this is not running a race. This really is always apples and oranges. Yeah. Although, you know, it's funny. I think you're selling your idea a little short. I was thinking about this when I read that part. I'm a big fan of cars. And there's a very particular moment in
Broken Record
"rick rubin" Discussed on Broken Record
"To go for a drive, something where you have to, you have to pay attention enough if you're driving, you can sort of drive on autopilot without really paying attention, but if you really not paying attention, you'll crash. You can tune out that much. So there is some part of you that's occupied when you're driving. With the work at hand. The reason I thought that was interesting was, I wondered in reading that, one thing that struck me and I could be totally wrong, but my sense is that increasingly, in a lot of creative fields, creativity is defined as something that is internal and deliberate, you look within yourself and your own experience and your mind them for and you're talking about something that is in part external and unconscious. And I have a good friend who's a screenwriter and I think by virtue of being my friend and watching, I'm a reporter, a journalist. You know, I call people up and interview them and record what they say. He's changed the way he writes screenplays. Now he does as much reporting as he has as much as someone who's writing a nonfiction book. And he's doing it not because he's just cutting and pasting what he hears in the world into his, but he's doing a version of what you're talking about, which is he's opening himself up to the, if he wants to talk about, you know, scientists, he goes and talks to lots and lots of scientists and it opens him up to the way they think and feel and that kind of approach to creativity strikes me as being one that seems out of Vogue in a certain way. I mean, it's not what they're teaching and writing schools. No, it's not what they're teaching and there was a line, there's a line in the book and I only know it because I was working on the audiobook yesterday and I read it yesterday. And it's, again, it's funny counterintuitive line that
Broken Record
"rick rubin" Discussed on Broken Record
"Comes from external forces rather than internal ones, and he explains why he believes self expression is not about you. This is broken record. Latter notes for the digital age. I'm Justin Richmond. Here's Malcolm gladwell with Rick Rubin. Rick. Hey. So I have a million questions. And then I thought the fun thing to do would be to go through and I would just read you things I underlined because there are things that I would love for you to talk that we could talk about, but do you in particular, but one of the fantastic things about this book is that I'm almost rarely read a book where I felt like I was being invited to contribute. Do you know what I mean? Like, every time you made a point, I was like, oh, I have something to add about that. Or yes. This, I mean, I've never read a book like that, where I'm like, half the time I'm talking to myself, as I'm reading it, so that's what I thought we would get into that as well a little bit. That's great. That's great. I'm so happy. First of all, I'm happy you like it. Happy Reddit, happy like it, and I'm happy that it had that effect on you. And I will tell you there was a version of the book, an unsuccessful version of the book, maybe four years ago, that talked about a lot of the same stuff that the book talks about, the content was similar. And the writing was beautiful. But it wouldn't have elicited the reaction that you had. And that's why it didn't come out then. And from the beginning, the purpose of the book was always, I want people to make great things. I want people, I want as much beautiful art in the world as possible. I'm a fan of beautiful things and exciting things and new things happening all the time. And the book was like a call to arms to go out and make something beautiful. Change the world, you know? So I've been in questions, but I wanted to start with a very general in which is because you're in the world of music, we're reading a lot of this through the lens of music. We're assuming you're talking about musicians and you give examples of musicians from time to time. From time to time, you also talk about visual artists. You add that into the mix. But I was curious about, are we really talking about all art here, or is there a, is there a difference in the way that music and visual art are done that you're specifically speaking to? I think it's how all creative choices are made. So not only does it include the visual arts, it includes starting a new business, a new recipe you're making as a chef.
Broken Record
"rick rubin" Discussed on Broken Record
The Rich Roll Podcast
"rick rubin" Discussed on The Rich Roll Podcast
"And the truly singular Rick Rubin. Yeah, I started it coming up on ten years ago on the north shore of Kauai. How beautiful. Yeah. Which is a place I know you've spent quite a bit of time. I love it. Yeah, in a warehouse. Up there. My second or third guest was Gabby Reese, incredible. 'cause they were up there at the same time. Back in 2012. And it's just been creative Odyssey. Over these many years. And I still love it just as much as I did on day one. It's a privilege. It's a gift. It's just been such a fulfilling experience. It gives me the opportunity to sit down with people like yourself and then share that wisdom with so many people. It's been really cool. Cool. What I found interesting in doing a podcast with musicians is when I get to meet people I've never met before and it's interesting the conversations are interesting and also I get to when I interview someone who I know for a long time, I've never interviewed them before. I interviewed people that I've known for 30 years and I learned a tremendous amount through the interview because you don't really ask your Friends interview type questions. A structure and formality, it kind of forces everybody into a presence of mind that ordinarily we wouldn't do on our own. Like I did one with my dad and I was able to ask him questions that I had never asked him. What a great idea. I think everybody should do a podcast with their parents or their extent. And not necessarily to share it. Yes. But as a document, it's beautiful. And also, yeah, for future generations. Yeah, cool. So we were introduced by our mutual friend, Steven pressfield. We have lots of mutual friends, but it wasn't until the past couple days that we actually got a chance to meet. And we've been corresponding for, I don't know, a year and a half, two years to do something like that. I think trying to make this happen. And always traveling and in distant places, and at one point you were like, look, I do tons of zooms, happy to do it. Let's just do it digitally. I'm super comfortable with that. And I was like, no, I don't. That's not the experience that I'm looking for. I am willing to wait until everything the universe sort of conspires to bring us together. Beautiful. And in my experience, that discipline to wait, always proves to be the correct choice, as opposed to willing it into happening when it doesn't feel like the right moment. Like there is something about timing and I'm really grateful that we're doing this now and not when originally maybe we were going to do it. And I think it'll be a richer experience as a result. Beautiful. I'm in. Yeah, man. So I guess we have to be cryptic about where we are and what's going on, but we didn't undisclosed location somewhere in the world. It's a weird Fight Club thing, but basically we've been hanging out for the past couple of days. Getting to know each other a little bit. And I have so many questions for you. I'm fascinated by your life, but really the occasion for this conversation is this beautiful new book that you've written called the creative act. Which I had the privilege of reading, it hasn't come out, it comes out in January. We're recording this in the middle of the summer. So I got an early peek at it, and it was great to read it with a beginner's mind, which is part of the message of the book without having read any reviews or having had anyone tell me this is what it's about, and this is what it's not about. And among the many kind of fascinating sort of emotions that I had in the experience of reading the book was that, first off, it defied my expectations of what it would be. And I had this assumption. You know, I went into it. Even with the beginner's mind idea, like I still formed an assumption of what this book was going to be, because there are certain conventions that kind of come along for the ride with people who write a book at a certain stage of their career. So I was like, oh, this is going to be somewhat of a memoir. It's going to be all these crazy stories of the bands and the amazing artists that you've worked with over the years. And then through that, it will be interlaced with takeaways or some wisdom that you've accrued. And it very much was not that. It was heavy on the wisdom part, but it's not a memoir at all. It's really a stand-alone work of art, a timeless meditation on the act of being a creative being. What is the experience of being an artist and how to sort of manifest the artist within all of us? So what was the kind of inception of the idea to write this book? When the thought of doing a book, I had an experience where I got to work on someone else's book about Johnny Cash and artist, I worked with the Robert hillburn spoke, which beautiful book. And the last few chapters are about Johnny Cash. The later period Johnny Cash and that's when I got to work with him. So we spent some time together and he suggested we listen back to the records and talk about different song choices. And I found through the process of helping Robert with his book, I learned a tremendous amount that I didn't know
60 Minutes
"rick rubin" Discussed on 60 Minutes
"Thinking maybe we start acapella. I got 99 problems, but a bitch ain't one. I got 99 problems but a bitch ain't one. Callie's stylist who following he's helped launch careers, LL Cool J and public enemy among them. And is often the go to guy for artists at the top of their game, like Adele. But exactly what he does and how is difficult to describe. Do you play instruments? Barely. Do you know how to work a soundboard? No. I have no technical ability. And I know nothing about music. You must know something. Well, I know what I like and what I don't like. And I'm decisive about what I like and what I don't like. So what are you being paid for? The confidence that I have in my taste and my ability to express what I feel has proven helpful for artists. Artists are eager to make the pilgrimage to shangri la studios in Malibu to work with Ruben. How many studios do you have here? There's the main control room here with the live room. The place is minimalist to say the least. There's no mirrors, no TVs, no signs of Rick Rubin's extraordinary success. I've never been in a recording studio where there's not gold records and Grammys. Do you have like a tiny ego room somewhere? I don't. I used to send them all to my parents and I don't know where they are now. It's a distraction. If you start thinking about doing something to achieve that, then you're not focused on this making this beautiful thing. It undermines the purity of the project. We're going back to the key, and we're going back to the tempo. Ruben has referred to himself as a reducer instead of a producer. I like the idea of getting the point across with the least amount of information possible. And that's what you're doing in a recording studio. You're listening to music to sound and trying to strip it. Just to see what is actually necessary. Getting it down to that essence to start with is really helpful in understanding what it is. On our first day, he brought us in on a jam session with saxophone great kumasi Washington. What are you listening for? Like right now, there's what chimes, piano, yeah, I'm not listening to any of those things. What are you listening to? I'm listening to the feeling. How do you listen to a feeling? Well, my body's moving. I feel that melody, awaken something in me. There's something familiar about it, but I don't think I've heard it before. The feeling of familiarity is a good feeling. If you haven't noticed by now, Rick Rubin talks a lot about feelings. My aim is not to have my presence felt. Unless it's necessarily. His presence is laid back, literally. He usually listens lying down. And barefoot with his eyes shut. You might think he was napping. I try to listen as closely as I possibly can. And when my eyes are closed, I feel like I'm there with the music. It may not seem like work, but Ruben hears things and senses things other producers don't. Back in 1993, a few stray guitar chords on a Tom Petty demo tape caught his attention. Tom sent me demos of about 5 new songs. And none of them really struck me, honestly, none of them spoke to me, but that guitar riff that opens a song was something that was played between two of the songs, just like a warmup. I
Talk Is Jericho
"rick rubin" Discussed on Talk Is Jericho
"They have played before. Listen to it together. But he's never analyzed the tracks that's why why would he ever right right right right so this was the first time. So so i. I will be master. Recordings ever left abbey road in history talk. That was a big deal and we were listening to the individual tracks. And i could see his surprise of and again ticket for because it's the beatles and he was there in the room but even for him now looking back. She is vacuous. It is there's a great scene where you you are once again one of the greatest producers of all time but also to now. You're standing next to paul mccartney and you turn into a fan asking questions and there's a great scene where there's a piece of masking tape hanging from your finger as you're talking to paul and like you don't even know you don't even remember it now you don't even notice that this it's a piece of masking tape and it's like you know super long but it's not even in your mind because you're so entrance from what he's saying and that's what i was like. Okay this is really something else. Because not only are we seeing all. But from the rick rubin side of things you are now just engrossed in these stories as well you know. I just thought that was really cool. Detail definitely present in the moment and we sat up where we didn't really see any cameras. Rec- any lighting. It really was just as big dark space with a recording console in the middle. And i like to think of it.
Talk Is Jericho
"rick rubin" Discussed on Talk Is Jericho
"I've been waiting to talk directly for a long time. He used to be my boss which will find out. He co founder. Of course oh. Dan def jam records. He founded american recordings. He's got eight grammy awards and just shitload of classic records that he produced. He's also the guy that had the brilliant idea to get paul mccartney into a recording studio to talk a bass playing songwriting production beatles. Stories wing stories. That incredible conversation is what turned into the new hulu documentary series mccartney three to one neither exactly how that happened. What it took to get done. How long they really spent filming. And what it was like from rex. Perspective is such a great documentary. Gotta watch it recalls to tell some amazing stories. But working in the studio producing records by cdc black sabbath course's famous johnny cash recordings that revive johnny's career system of a down the red hot chili peppers. Tom petty so many classic records artists that he's worked with but like i said He was my former boss. Because as a die-hard wrestling fan he was the owner of smokey mountain wrestling back in the early nineties. When i was there we talk all about his love of wrestling. How he came to eat. Jim cornet and became the financial backer of sm. W i'm just going to stop here on the conversation. Roll classic special episode number eight hundred with the classic and special. Rick rubin right here now on talk is jericho eight hundred so this is a long time coming here. talk is jericho. One of my most coveted guests that have a lot of different connections to rick rubin and we've seen each other a few times and kind of cross pass and there's lots of stories that will tell as we go along but It's great to actually have a chance to talk to you rick because you are actually And we'll get to where we're my former boss at one point in time. I mean we muscle get your a huge wrestling fan but the big. It's not a secret anymore. But it was at the time that you were the financial backer for for smokey mountain wrestling. Yes it was always kind of a little bit of a of a secret that that were the guy behind. It.
WTF with Marc Maron Podcast
"rick rubin" Discussed on WTF with Marc Maron Podcast
"Jokes. That <Speech_Male> fit rhythm i <Speech_Male> go on stage <Speech_Male> and i put myself out <Speech_Male> there and i wait <Speech_Male> for something to be delivered <Speech_Male> to me. And <Speech_Male> that's how it happens. <Speech_Male> I don't know <Speech_Male> where they come from. <Speech_Male> I don't know why they come <Speech_Male> from. But that's what i'm <Speech_Male> gunning for <Speech_Male> and generally <Speech_Male> you know it hasn't <Speech_Male> made me <Speech_Male> Kevin hart <Speech_Male> i don't fill arenas <Speech_Male> but i've got <Speech_Male> a pretty good size audience <Speech_Male> now that that <Speech_Male> that keeps me a <Speech_Male> feeling <Speech_Male> like i'm doing <SpeakerChange> something <Speech_Male> relevant so <Speech_Male> so it happens. 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WTF with Marc Maron Podcast
"rick rubin" Discussed on WTF with Marc Maron Podcast
"Months. And we worked on mac together. It just goes in cycles rights. Yeah so when you say you're doing five records it doesn't mean like tomorrow i've got to work on. All five known know their projects that start in the near like at different stages of one might be just in the writing stage. One might be about to be mixed in. We're doing the final details are different all different and you don't have the houdini house anymore. i slow moving house. You place recorded Fletcher to sex magic there. That was the first thing. We recorded their recorded System of a down in that. How do you think that houses magic or just happens to be. Houdini althouse well. There's different stories. Like houdini never lived in the house. He did live on the land and actually the house that that was his house was diagonally across but burnt down but he never lived in that one either but he did live on the land where this house is but he didn't live in the house. What in a box that. He couldn't get out of there he's just saying on the land with you. Can't i don't know but i know he didn't live in the. It was not just know the history of the wave. The way it was told to me was while they were working on his house. He was living on the land on this house. It wasn't in that house. Maybe was in one of the smaller house so in causing enjoy sweden. And it's nice to see you come by the comedy store hang out. Do you spend time. They're still on there right when the pandemic over like giving even after i spent a year going like maybe i don't need to do stand up anymore. Maybe a mall better as soon as the fucking open. I'm there every night. I'm going tonight any really there every night. Pretty much and you get up every night. Yeah you up or do you go just to to be go to work. I'm i'm working out buddy. I'm working out. I got i going to do. I'm doing this residency and then i'm gonna go do some clubs in august and i'm going to do the new york comedy festival in november and if i feel like that the hour i've built is worthy. I'll take it on the road bit. How much how. Much does the our change from night to night. I once it's developed. How well right now. I believe a lot of room right. Now it's still it's not. It's not an hour yet. It's like an hour and a half and there's a lot of bits and pieces that need to kind of work together. So so it's it's it's it's changing. It's very fluid. But when once it's organized would would like the orders events over the course of the night we the same every night necessarily not for me. No i ice generally leave room if i have to shoot the special. I'm usually tweaking things right up till like the day before it special. But i've gotten very kind of Waiter in my life here the last two or three specials. i've become. I was always kind of loose like i did a ninety minute. Special call thinki- pain which i was loose on purpose even with notes but then i got kinda hung up on callback and structure and tightening it up so i think the last two or three specials are very they're pretty pretty set But yeah leading up to those. It's always i. I like the only way. I i know i'm alive is when things happen. That don't plan so you know over over the course of looking back. How many of you done many specials. I've done my four or five cds. And i guess one two three four four hour plus ones and if you look at the The roller coaster ride of how they turned out was last one the best one the ball question. Yes yes it is for sure. So you weren't in the beatles. I was not in the beatles. Never a beetle. I always always You know. I was always in in a lot of bands. That just didn't quite make the break. I was almost a we almost had to hit. It didn't really. I didn't really land myself totally until the last two or three. It took me You know took me about thirty years. You think is mainly the time. Was it like just the the years of doing it to get to that stage. I don't know man. It was just like you know you spend a lot of time as a comic or at least either pretending to be fearless you know. And that's part of the the that's part of the thing you know taking the hits pretending to be fearless and and also i was always a guy that i wasn't really setting out to be entertaining. I was always setting out to find some truth for myself. And i'd shows that format right and that was the way i always sort of did it. So i was difficult to to digest Throughout on and off throughout the years. I was always pretty funny but i was pretty intense and somewhat off putting at different times but like i was on conan fifty times and i never really got an audience so it took me until the podcast to get an audience and now i can sort of deliver with a certain amount of fearlessness and i even enjoy being up there. I don't think i enjoy doing it until of six years ago. So i don't know why i was doing it but it was. It was because i had to in my heart. Not because i loved it. It was what i was. It was what i was born to do in my brain. That was like this was the only job for me. If you didn't if you didn't love it what did you love the immediacy of being alive in like for me like those moments. I was talking to you about something delivered to me like you know. I don't know how my jokes written. I don't sit there and write these equations or these math problems. That are jokes. That fit rhythm i go on stage and i put myself out there and i wait for something to be delivered to me. And that's how it happens. I don't know where they come from..
WTF with Marc Maron Podcast
"rick rubin" Discussed on WTF with Marc Maron Podcast
"Mary. J. blige and me playing famed music producer. Jerry wexler one of the first people to truly understand retha franklin and the superstar. She was destined to be and workman making. This movie was amazing. It was amazing. Especially that a lot of the stuff that i did was at the muscle shoals studios which they rebuilt recreated from from pictures and i imagine architectural Plans because it was perfect. And all the guys playing the The muscle shoals musicians were also musicians so we got to jam around a bid. It was fun. Jennifer was singing in real time and man those although songs are dug into my brain but you really felt there was a real element of being their time travel experiencing it. It's exciting. it's people are going to love this movie. Don't miss respect only in theaters august thirteenth. And i just did I just did a bunch of press for respect. We did a junket. Just one after the other this This zoom thing. It's really changed the way things are done or the way we know we can. Now do them. I imagine i. I wonder if people ever going to go back. Because i did. Like twenty two. Maybe twenty five. Tv spots four to eight minute tv spots sitting in one chair in one room with people coming and going on screen with me. It's just as exhausting but And i don't know where a lot of them will end up. I imagine perhaps you'll see me When you're putting gas in your car on that screen felt like a lot of them. Were were that kind of thing. But then we did a bunch of Print press the same way. Just zoom just sitting there kind of amazing very exhausting so rick rubin outside of producing almost every record the last thirty years all six parts of the documentary series mccartney three to one or now streaming on who. It's him and paul. He walks paul through stuff and get some good stuff. I tell them about it. 'cause paul as i've mentioned to rick weak- an old gold mine. That's tourist attraction now because they assume there's no nuggets in there but everybody wants to have a look. Well rick god. If you this is me talking to rick.
The Big Picture
Beastie Boys Made a Movie. We Made a Beastie Boys Podcast.
"I'm Shawn Fantasy and this. Is the big picture a conversation? Show about Beastie Boys. That's right beastie. Boys made a movie beastie boys story which is directed by Spike Jones and available to watch right now on apple. Tv plus. If you're like me and worship Beastie boys you need to watch this movie later in the show. I'll be talking to add rock. And like diaw Beastie boys about their movie history their favorite fruits. How they're doing in quarantine. The New York Knicks documentaries that they want to see a bunch of other stuff as I tried to keep them focused on our conversation. A really love these guys beastie. Boys are my favorite band ever and it isn't even really close so to talk about them before we get to them. I asked the VIC Ferrari to my Alessandro Allegra. Join me it's Chris Ryan. Hi Chris. I've always seen myself more as a Nathan Wind Guy. I've been waiting my whole life to do this. Podcast so let's go. I'm very glad you're here with me. I can't think of anybody else. I'd WanNa have here other than you. Except maybe Mike the Inadequacy and they're coming later. So when I say beastie boys what's the first thing that pops in your head Chris? Probably the invention of cool so I think one thing that we've talked about a lot over the last twelve to eighteen months. We've had a lot of Quentin Tarantino podcasts. We've we celebrated a lot of his movies on the watchable. We talked about them on. Big Picture Podcast with him and something that comes up. Ally is kind of how he gave us a vocabulary or language to through which to understand culture and understand the world and I think the Beastie boys are equally responsible for that in both of our lives in terms of introducing us to so much music and so much other culture that wound up becoming just part of our like way in which we relate to the rest of the world through these like Kung Fu and exploitation movies through rap Reggae punk rock weird funk like all like it just basically made collectors and fans out of out of us at the risk of stepping on music exists. I wanted to ask you why you think you. And I to some extent to are so interested in figures who are all about basically like recombinant culture. You know who take all the disparate parts of stuff that they love and smash it all together because that is the thing that the movie and then returning to all of this music that I listened to over and over and over and over again in my life that I have thought about is like wow they really just jammed all the stuff they liked together to make something new like. What is it about that? The second part of what you said is the most important thing. Do you think about the people that we really respond to. Wu Tang clan quitting Tarantino. Beastie boys it means we're very basic very and B. It's the most important part is finding the second thing the thing that you're GonNa make out of all this shit. And that's what makes me so excited is when someone uses all these postmodern tools in these reconstructs. All these things out of this of Cultural Ephemera to say something else. Wootten Klan took all those Kung Fu movies and took all those samples but made something that could only have been made in Staten Island. You know back could only have made the music. He made with the experience that he had. And the Beastie boys could only have been the beastie boys by combining bad brains with run DMC. Yeah and I feel like it's not a mistake that so much of what we do at the ringer and so much of what you and I have been trying to do in. Our lives is basically celebrate and be enthusiastic about the things that we care about and I feel like these artists are the same way if you if you think about Beastie boys and you even look at the way they tell their story in the movie. It's just we really liked was the clash and grandmaster flash and Cheech and Chong and we were trying to find a way to make all those things make sense together and I feel the same way about what we do every day I feel about you and I love the NBA and we love Top Gun and we love. I love deb's I don't know how you feel Dad's but You know just trying to find a way to make all those things fit together so I feel like I have aped and tried to copy a lot of what those guys do. And I feel like a kinship to their their mission their creative project. Absolutely I mean like you and I don't mean to make it sound like you. And I are the Beastie boys here but you know. I think that we use the Internet the way other people would use a sampler right and we draw in all these different media. We'd take youtube videos. We take a picture and I think it was probably more the case before we started working professionally together in an editorial capacity but we would have like tumblers and blog spots and you were just kind of like throw a picture Steve McQueen up in an article you were writing about those face and it would have some sort of relationship and I think that that was our way of continuing along this tradition of mixing and matching different pieces of culture to say something about yourself. The thing that you said that I think is probably one of the most important parts of the movie that will nocco very remarked upon because a lot of it is going to be spent talking about. Yok and it should be because this is very much I think an image to him in a real moving tribute to their friend but when Mike D says in the beginning of the movie that he was just this weird kid who found the clash. Not only is that like. That's the origin story for a lot of people. Who like they find that one band? Whether it's the dead or the clash or you know run DMC. Whoever it is that makes them think that they are now. All of not alone in the world the clashes like a really really important. Template for the Beastie boys because they are basically A Crossroads Group A marketplace. At Crossroads Group. It's where all these different cultures are coming. And they're setting up their wares and you can pick and choose off these tables and then you go home and you make something out of it. And that's what the clash did too. I mean you can make a lot of arguments about appropriation. And whether or not the people who the clash were taken from or or paying homage to properly compensated for the work that they did And the same thing could go. For the Beastie boys but I think a lot more people know about Lee Perry. Because of the Beastie boys did not you know and and that's like a really really important act in culture. Everything is about timing too I think about when they hit the scene and who they were working with and on the one hand I guess there's an appropriation question. I think they've moved past that so effectively because they were just literally there with Russell. Simmons and Rick Rubin and run DMC making music together and they were a part of something that was essentially punk at the end of its first true like lightning rod phase at the end of the day and and rapid the Dawn. You know I mean. They weren't there necessarily in in the parks in the south. Bronx but you know one thousand nine hundred. Eighty three played on the radio. Yeah Yes yes. And there's that great moment in the movie where Africa is asked about cookie. Post by one of the members of the Beastie boys and you can see like they're they're they're they're in the moment and they're going to dense area and you know performing for white people introducing them to wrap it away and that couldn't have happened if they if it was just five years earlier five years later. The same is true for the class. You know it's like they arrived at a time when the world was ready to hear rock and try to play reggae. And what that means for the future reggae. There's something also about this specific approach to the world though that jumps out to me. Which is it's not. Just this is what we like. It's this is what we like and I don't care if you don't like it and I don't I actually don't care if you don't get it because when I think about the things that I knew when I first heard the band it was you could fit it inside of a very small box. I just did my cultural reference points. The music that I knew about the the records the comedy everything that they were throwing in. I wouldn't say that I discovered them because they were sampled for three seconds on a on a record on policy boutique but they were a window. You know I had never heard of Sadaharu. Oh until I heard the beastie boys rap about him you know like there's so much in their music the sampling the lyric writing even if it is in their songs are very rarely like high minded. They're not necessarily pursuits of big ideas. But they put big ideas in front of you. Just by dint of what they were interested in and I I liked that kind of take it or leave it quality they bring to it and I feel like that really comes out in the movie too. Don't you think yeah? It's only a couple of people are lucky enough to have other people care about the thing that they care about. You know you can. You can play the game and you can try. Ride the wave of what's popular at any given moment. But it's so weird because what the beastie boys did especially once they move to La. I think wound up having such an incredibly profound formative effect on all the culture that comes after it but it so it winds up being underrated as as to what a zag that was how crazy it was for those guys to be like. Yeah we'RE GONNA LEAVE NEW YORK. We're GONNA leave behind rapper. We're going to go to capitol from Def Jam. And we're GONNA work with these two producers that basically no one's ever heard of an assemble these like really out there incongruous samples to build together a new sound that we're gonNA use to define us for the next couple of decades. The only thing I wanted to talk about because I think is probably also a reason why you and I like them. Much is that and this comes across very much in the movie much
Just The Sip
Tinashe's Independent Return to the Music Industry
"Welcome my girl tonight. I just want to let you guys. We met one night. We were bullock La at the club. We were extreme batting. Yeah it's stream fighting Buzi Veloso five and these two girls were literally like the white man who does a tight wire across the gray anion on heels this long dancing and work in. And we're like we need to know y'all y'all come party. Etta linked up linked up. And we've been friends ever since two dropping it low. That was a fun night burn night. Yeah there's no way she's out with the people she was I with the people in Chile Chile cheers to that graduated into it. I gotTa get strange. You get into it. Thank you new record. Save Room for us. Yeah out a million a week in a week. What's it like? That fans are responding to this new. Sound it honestly means everything because this is me you know like before. I think I was learning kind of coming up in the game finding my way and I felt really great to be in the position with my previous record label to release. My first vote was two point five albums and learned a lot. Got To work with all these different producers collaborate with so many different amazing artists. But I felt kind of towards the end of that experience that I wasn't hundred percent being true to like who I needed to be. And that was for. Like a zillion different reasons. It's really hard to pinpoint like one particular reason or it was over the course of a seven year relationship with that situation so I found myself in the place where I just felt like I needed to step back like fine pause in my life really reinvent and become artists that I felt that I truly like was an and just continue on like a trajectory that I was headed towards. I felt like I was kind of like coasting through my career like going through the motions instead of doing what you really really wanted. Artists come here and all they want is at record deal. They want apple to see them. They want to be a part of that. And you had it and then you let it go. Was that a mind for you to like say. Ok. I'm going to do this on my own. Yes myself. It's a big risk right because you lose that kind of machine that kind of solidifies like a lot of different things way budgets. Like making sure that you know you get your stuff out there at first. It seems like okay. How am I going to actually even function as an artist without this machine? That has been internationally pushing me for so long. You know there's so many different components that go into it and I think for me Taking that risk felt like a better option than to continue on what I was doing before like I had to for my soul like take it there. I had to like for me. It felt very very much like spiritual like an instinct calling to like. I have to you know this is. This is the time. This is the perfect opportunity. Gobert Sean you said like there's a spider. My house yeah. I'm not just going to kill spider. I'M GONNA burn the whole month and read somewhere that you've fired fired. You parted ways with everybody. Everybody here in makeup. You parted ways with the you party ways with lawyers rainbows managers lawyers businessmen and Jerry's style literally across the Board. Just wanted to be like clean slate. I'm GonNa just from the ground up really reduce. I connect reconnected with a lot of people that I was really great friends with and I've I guess also kind of re affirmed the of my friendships in this industry because the have built a lot of like really genuine relationships. And I think that those have also really kind of kicked into gear in taking me to another place where I'm using actual real creative energy and people around me instead of kind of just. I don't know it's hard. It's hard to describe but like when you're kind of in sometimes a label situation at least in my experience. It feels like there's this disconnect between the artists and Mike. Every thing that happens like even like collaborations like you don't really talk to the artists when you collaborate with them or like say you like yeah you WanNa like create something you WanNa do something. There's always this transactional situation that happens. Let's let's bring that to people who don't realize slumber party Britney Spears. Oh my God when you collaborate with the Britney are you in the studio with Britney or are you talking about her looks I send you a track and say we want you to be on this. Yes yes yes. Yes which is very typical of situations so it just feels very much more natural. Now that I'm having to kind of reach out to people myself make those connections myself and it feels more valuable and just feels like everything. There's a better synergy that I do. Because you Rick Rubin right now in the sense reminding do this at Your House. You do this on your own my own space in my own environment which feels really comfortable and really genuine authentic which. I think people can tell the difference. You know. There's so much. Fake Ness in the world that people have really a craving and looking for authenticity. Whatever that means even if that means like being independent doing stuff on your own now how did you find friends in the music industry? Because I feel like it's the mother. Oh yeah everybody answer themselves. It's Ache I feel I. Can you explain this to me? We went on a hike that everybody's just offer themselves. How do you find those authentic artists that are actually friends? And who are there for you during this process? I think again. That's kind of what I've really been able to realize a lot with this current time period. Because I've been able to see who is there for just for the art or is there just for me as a as a friend or as the support system. I've really been able to find out who those people are and I think. Yeah real genuine friendships. Maybe in the music industry can be few and far between but I think that you can still find great collaborative friendships and great stuff. Yeah from my make some people. Yeah you know anybody that surprise you when you were like. Hey Bro I want you to be on his mother. Navam and they were like Who Not specifically now that I can think of where you have intuition too. Yeah yeah the whole thing. Are you try to kind of already collaborate with people who are seemingly giving you that kind of energy already yeah? It's almost like single life. It's like when you've been married. Seven years mighty big and then you get the single moment you live your best life and you meet all these really cool people and you find yourself then. You're doing this whole thing. Would you ever go back into a marriage with the label after doing it by yourself and if you would what would be different? I would say never say never at this current point now the right situation came on came about I would definitely consider it But for me. What really held me back from kind of even exploring that with releasing this last album was. I just felt like there was so much of this kind of same thought process So just kind of like going from one relationship to another. That was just extremely similar. So it didn't feel like growth for me. I felt like I had to give myself the opportunity to try to do it without this dated mentality of like just approach to making music and our approach to releasing music is. It's hard like artists. Talk about it all the time you know getting. It's hard to get there album out. It's hard to get creative differences or whatever I think it's the where business meets art. There's always going to be a risk you know. And now you're just doing art and now I'm just focusing our and it feels so much better. Yes so single we always talk about how Minna garbage in different locations different garbage gets at different locations. I say that it was an LA thing. And I beg to differ so you think it's just all over the place it's an epidemic. The new it's the old corona virus garbage. How do you have a hard time finding a dude got the MTA nausea? I mean well first of all I don't like actively look so that's part of it date maybe if I like dated maybe and meet some Nice people just genuinely don't like carve out the time but I've been to your house Taco Tuesday it's fine. There's some dude. I don't like talk to them. That's because you're too busy by the way this girl hugging the Taco. This girl has egg forty five people over at our house for Taco Tuesday. She's making the tacos. Her brother at work. She invites her parents to bring shrimp over to finish back on. We ran out of shrimp so I needed a more so I called my mom. Mom bring us another that. She comes in like stealth mode. But here's the lease and then leaves mom doesn't even stay with its hind. You find that family in Los Angeles because it's hard to make friends and find people who are genuinely here for you and not here for you the celebrity. Well I think for me the number one thing. That's helped me learn how to navigate is growing up here. I think you have a huge advantage because I think when you come here you tend to go to like all these certain circles in these certain environments where everybody around there is kind of trying to meet people or network or connect or be a part of the circle. When you're literally grow up here you're just in the suburbs here in Glendale Galleria. You know you're just you see that as like a part of the city that you can kind of use as a tool you can dip into relief from so I feel like people that are from the city and people who move here kind of experience l. a. differently just in their perspective of like the. Hollywood life like I've a lot of people who live here like people are so fake people are so fake my God and I'm like you have. Have you met people like really really like from here? There's a lot of soul there's a lot of heart is a lot of real genuine culture. But you could be who who are not from. La Because to get into the circle is hard okay. That's the other part that is why I kinda have this great circles because everybody that is in my immediate framework but whatever is people that have been there like from time so to get into that circle takes. Tell you what it feels like. Remember in blade whenever like the Vampires are all at Club in Germany and they're all like dance and Raven and all of a sudden the non vampire walks in and everyone's like nothing feels a non. La DO TRIES TO WALK INTO LA. Gang announced true. It's true it's hard I feel for. I feel for the people who move here as the Queen. Bee says because that's what happens. The Queen of Talk. You're cool you're at TACO Tuesday out. Good job tell people how you gotTa Start. Because you got your start at an early age. It's a it's quite a long story so when people get asked like how'd you get into the industry? It's hard to say it's like one thing or another. I was in my first movie when I was five years old. I started dancing four. I have been actively entertaining or like in the business since you could walk as long as I can remember. Yeah so that has just volved and continued to be like. I was thinking about my career and I was eight years old. You know so. It's always been a part of my life. It's like who I am and
Broken Record
Robbie Robertson: Leader of The Band and Architect of Shangri La
"Here's Rick Rubin Malcolm Glad Well Bruce Adam from Shangrila speaking with the studios architect Robbie Robertson. We had a fantastic take the other day a year. And I'm when I was telling the stories of Shangri la you know stories he envisioned this place and built it and it was unbelievable and it was mine it it you know the other guys in the band thought this was a good. Hi Dear but from big pink to. Sammy Davis Junior's house to the worcester. We made these records in not not in studios in other places where there was an atmosphere and it could be our atmosphere and ours. Sounds you know now and every thing was not on somebody else's will way of doing of somebody else's wave likes. You know you would go into the studio Rodeo. And there'd be these used to be these union guys they'd be like Oh looks like it's lunchtime or like what are you talking about lunchtime. We're we're you know we're about to do something something and and they'd be an IV. Like I I don't know this should be louder than don't touch that you know. Yeah so I don't want that I. Ah I don't WanNa do that so I said what we're going to do is we're going to make these clubhouse these workshop these studios does things that is our world and arm music are sound and whether it was true or not. I believed that that it gave it a character and a saying which it did for better or worse. What's what's interesting about? That too. Is that now. It's become more the norm. Yeah Ah that that said when you did it technologically. It was much more difficult to do like when you did it. You needed big studio equipment like today. People people can do it on their laptops so they can. It's easier to make that jump but when you did it. The infrastructure involved was not easy to pull off. It was unheard of except for Les. Paul Les Paul said. I'm going to build studio at my house and I'm GonNa Build an Echo Chamber into the side of this hill right. And he was going to do all of these things. I had an argument demint the other day with Van Morrison about being able to do this kind of thing and because he was saying I only liked the play live just with my band and I go in and we sing and they play this song and we can capture a moment. We've all done that. I know it really well. I played Ricksen music the other day. That was all like first or second takes in it. Was You know songs you've heard. Yeah sounds you've heard a lot so so anyway so van saying it's gotta be live and it's got to be governed by and that's the way it used to be in a way of being I said what about less paw. Aw He overdubbed. He made things he played on top of himself. He doubled tracked. Things invented it so so van says I know but he was magic you recorded at. Sammy Davis Junior House. Yes we made the band album. The brown album And we rented. Sammy Davis Junior House in the Hollywood sunset is at plaza in the Hollywood hills. And we all stayed in the House for the family and we turn the pool house where he used to have have his. Party's with Frank Sinatra the rat back and all these people we turn that Pool House into his studio and the record company Penny thought. This was the worst idea they ever heard. I thought this was ridiculous. He said Dr Fifteen minutes. We have the best studio in the world here. Franks not for records year right all of this stuff and I was like no no no. This is a different thing and finally finally they were like okay. Okay I guess I don't know what you're doing and it's probably going to be bad but serious June didn't show up in another another. Sammy Davis Junior. He owned he still owned the House. He didn't live there so the magic him like he lived there. Stepping in on one of your according to what the House was built lower. You go into the the bathroom in the sink was down here and it was. Everything was built to his specifications you know and and I it seemed like this is great. This is great. Sammy's world's amazing. And so we recorded the album there and then we mix it or we're going to mix the record and there's this guy in New York. Toni Mae was his name and he had mixed the is the brothers. It's your thing. Do what you WanNa they do. So it was such a great sounding record we said wow. Let's see we can get Tony Maiden Mick says and he worked with Phil Ramone and all these people are which so anyway comes in and he puts up the tapes and everything and he says These tapes are awful. I'm going to have to do a lot of work. Arcand this and I thought I don't know if I like that. So anyway. He did a mix. There was not what I wanted at all. It's not the way I heard it all so anyway we're like thanks. Tony See You know and on which songs with these these were on the band album was the night they drove old. DIXIE DOWN UP ON CRIPPLE CREEK Whispering Pines on was wrong with his mixes his mixes were a trying to make this slick and bright and end and there was a witness to it. There was a muddiness to it that that suited the music it was earthy and I I want it that right. But he didn't get the joke so that was okay so I went and mixed the album with guy another another guy at the at the the old Jerry Ragavan said factory in New York this guy of mixed the album we mixed at the guys in the band. We were all in their the in God at the way that that I wanted so we get it and then it's like okay. The guy the mastering in guy his name is Bob Ludwig. You GotTa get him to master your record. So we take the record to Bob. Ludwig and and He puts you know he puts on the tape the mixes and everything and he says Oh boy is like Toni. May He's like I don't know I'm GONNA try see if I can fix this or save this and I'm like That's really depressing. So I go on I tell the other guys I said. I don't know we might have done this all wrong. Everybody's saying it's it's terrible and that you know so the net. I don't know a couple of days later. Bob Ludwig calls me and he says I am such an an idiot. I am such a fool. I didn't get it I so get it. This is maybe be the most interesting record I've ever heard. He said I'm so sorry. And he told me Bob Ludwig he said I made the same mistake when sly stone brought me. There's a riot going on. I thought that that was a big mistake. Sue Two and he said and then I realized it you know I had to accept it the way that I accepted your record and So I was like 'cause I thought he was right hit on and if he had a state with that I don't know what would have happened. So he you you know he mastered at hardly did anything to it in in the mastering and it was just one of those things it was a homemade saying it did have that character to it and that was part of its