1 00:00:00,200 --> 00:00:03,437 >>> FUNDING FOR "OVERHEAD" WITH EVAN SMITH IS PROVIDED IN PART 2 00:00:03,437 --> 00:00:04,438 BY M.F.I. 3 00:00:04,438 --> 00:00:08,041 FOUNDATION, IMPROVING THE QUALITY OF LIFE WITHIN OUR 4 00:00:08,041 --> 00:00:09,576 COMMUNITY. 5 00:00:09,576 --> 00:00:12,412 AND FROM THE TEXAS BOARD OF LEGAL SPECIALIZATION, 6 00:00:12,412 --> 00:00:15,048 BOARD CERTIFIED ATTORNEYS IN YOUR COMMUNITY. 7 00:00:15,048 --> 00:00:18,519 EXPERIENCED, RESPECTED, AND TESTED. 8 00:00:18,519 --> 00:00:22,856 ALSO BY HILLCO PARTNERS, A TEXAS GOVERNMENT AFFAIRS CONSULTANCY. 9 00:00:22,856 --> 00:00:26,727 AND BY THE ALICE KLEBERG REYNOLDS FOUNDATION. 10 00:00:26,727 --> 00:00:28,762 AND VIEWERS LIKE YOU. 11 00:00:28,762 --> 00:00:30,664 THANK YOU. 12 00:00:30,664 --> 00:00:31,665 >> I'M EVAN SMITH. 13 00:00:31,665 --> 00:00:34,434 SHE'S A ROCK 'N' ROLL ICON WHO SPENT 30 YEARS AS A BASSIST, 14 00:00:34,434 --> 00:00:37,337 GUITARIST, AND VOCALIST IN THE HALL OF FAME-WORTHY ALTERNATIVE 15 00:00:37,337 --> 00:00:38,872 BAND, SONIC YOUTH. 16 00:00:38,872 --> 00:00:42,042 HER MEMOIR, "GIRL IN A BAND," HAS JUST BEEN PUBLISHED. 17 00:00:42,042 --> 00:00:44,611 SHE'S KIM GORDON, THIS IS "OVERHEARD." 18 00:00:44,611 --> 00:00:45,612 [APPLAUSE]. 19 00:00:45,612 --> 00:00:47,748 >> ACTUALLY, THERE ARE NOT TWO SIDES TO EVERY ISSUE. 20 00:00:47,748 --> 00:00:49,750 >> SO I GUESS WE CAN'T FIRE HIM NOW. 21 00:00:49,750 --> 00:00:51,752 >> I GUESS WE CAN'T FIRE HIM NOW. 22 00:00:51,752 --> 00:00:54,454 THE NIGHT THAT I WIN THE EMMY. 23 00:00:54,454 --> 00:00:58,292 >> BEING ON THE SUPREME COURT WAS AN IMPROBABLE DREAM. 24 00:00:58,292 --> 00:01:00,360 >> IT'S HARD WORK AND IT'S CONTROVERSIAL. 25 00:01:00,360 --> 00:01:02,362 >> WITHOUT INFORMATION, THERE IS NO FREEDOM. 26 00:01:02,362 --> 00:01:04,598 AND IT'S JOURNALISTS WHO PROVIDE THAT INFORMATION. 27 00:01:04,598 --> 00:01:11,772 >> WINDOW ROLLS DOWN AND THIS GUY SAYS, HEY, HE GOES TO 11:00. 28 00:01:11,772 --> 00:01:14,007 [LAUGHTER]. 29 00:01:16,343 --> 00:01:17,344 >> KIM GORDON, WELCOME. 30 00:01:17,344 --> 00:01:18,345 >> THANK YOU. 31 00:01:18,345 --> 00:01:20,314 >> CONGRATULATIONS ON THIS BOOK. 32 00:01:20,314 --> 00:01:22,316 I'M SURE IT'S GOING TO BE A BIG HIT. 33 00:01:22,316 --> 00:01:24,017 IT MUST HAVE BEEN FUN TO WRITE. 34 00:01:24,017 --> 00:01:25,085 >> PARTS OF IT WERE FUN. 35 00:01:25,085 --> 00:01:26,086 >> YEAH. 36 00:01:26,086 --> 00:01:27,321 >> PARTS WERE BORING. 37 00:01:27,321 --> 00:01:28,322 >> BORING? 38 00:01:28,322 --> 00:01:30,324 PARTS OF IT WERE BORING TO WRITE? 39 00:01:30,324 --> 00:01:31,325 >> YEAH. 40 00:01:31,325 --> 00:01:33,327 >> TO GO BACK THROUGH ALL THOSE YEARS? 41 00:01:33,327 --> 00:01:35,295 >> WELL, THERE'S JUST THIS CERTAIN NUTS AND BOLTS OF 42 00:01:35,295 --> 00:01:36,296 WRITING --. 43 00:01:36,296 --> 00:01:37,297 >> RIGHT. 44 00:01:37,297 --> 00:01:39,299 >> WHERE YOU JUST HAVE TO EXPLAIN THINGS OR TRY AND GET A 45 00:01:39,299 --> 00:01:43,737 LOT OF INFORMATION IN THAT IT'S NOT PARTICULARLY -- YOU KNOW, 46 00:01:43,737 --> 00:01:44,838 IT'S CHALLENGING. 47 00:01:44,838 --> 00:01:45,839 >> RIGHT. 48 00:01:45,839 --> 00:01:48,742 DID YOU WRITE IT FOR YOURSELF OR DID YOU WRITE IT FOR US? 49 00:01:48,742 --> 00:01:50,510 >> BOTH. 50 00:01:50,510 --> 00:01:51,611 >> BOTH? 51 00:01:51,611 --> 00:01:53,213 YEAH. 52 00:01:53,213 --> 00:01:58,986 >> YEAH, I MEAN, I GUESS I HAD IN MIND THE KIND OF BOOK I'D 53 00:01:58,986 --> 00:02:00,187 WANT TO READ. 54 00:02:00,187 --> 00:02:01,188 >> RIGHT. 55 00:02:01,188 --> 00:02:03,457 SO IN THAT RESPECT, YOU WROTE IT FOR YOU. 56 00:02:03,457 --> 00:02:05,792 BUT I ALSO WONDER IF IT FELT TO YOU LIKE YOU HAD THINGS YOU 57 00:02:05,792 --> 00:02:08,762 NEEDED TO GET OFF YOUR CHEST OR THINGS YOU NEEDED TO GET OUT. 58 00:02:08,762 --> 00:02:11,098 I DON'T KNOW YOU, BUT I FEEL LIKE HAVING WATCHED YOU PERFORM 59 00:02:11,098 --> 00:02:13,100 ALL THESE YEARS AND UNDERSTANDING A LITTLE BIT FROM 60 00:02:13,100 --> 00:02:16,136 A DISTANCE WHO YOU ARE, I FEEL LIKE I KNOW YOU ENOUGH TO THINK 61 00:02:16,136 --> 00:02:20,007 THAT YOU'RE NOT THE KIND OF PERSON WHO IS EAGER TO TELL ALL 62 00:02:20,007 --> 00:02:22,976 OR EAGER TO OPEN UP THAT CHEST AND GET -- YOU KNOW, 63 00:02:22,976 --> 00:02:24,978 TAKE A BUNCH OF STUFF OUT AND SHOW IT TO US. 64 00:02:24,978 --> 00:02:25,979 >> YEAH. 65 00:02:25,979 --> 00:02:27,981 >> SO THAT WAS AN INTERESTING QUESTION I HAD FOR YOU. 66 00:02:27,981 --> 00:02:29,750 WHAT MADE YOU DO THIS? 67 00:02:29,750 --> 00:02:32,152 >> I HAD A LOT OF TIME ON MY HANDS. 68 00:02:32,152 --> 00:02:33,153 [LAUGHTER]. 69 00:02:33,153 --> 00:02:34,154 >> OH, IS THAT RIGHT? 70 00:02:34,154 --> 00:02:35,155 YEAH. 71 00:02:35,155 --> 00:02:37,124 >> NO, I KNOW PEOPLE WERE STARTING TO INQUIRE, 72 00:02:37,124 --> 00:02:39,126 DIFFERENT PUBLISHERS OR EDITORS --. 73 00:02:39,126 --> 00:02:40,127 >> YEAH. 74 00:02:40,127 --> 00:02:45,732 >> AND I -- YOU KNOW, WRITING FOR ME IS THE WAY I FIGURE OUT 75 00:02:45,732 --> 00:02:47,734 WHAT I'M THINKING OR FEELING ABOUT SOMETHING. 76 00:02:47,734 --> 00:02:50,670 >> AND YOU HAVE DONE WRITING IN THE PAST, ESSAYS AND --. 77 00:02:50,670 --> 00:02:52,506 >> YEAH, MORE -- YEAH. 78 00:02:52,506 --> 00:02:54,608 ESSAYS AND SHORT PIECES. 79 00:02:54,608 --> 00:02:56,376 SOME THINGS ABOUT L.A. 80 00:02:56,376 --> 00:02:57,344 >> RIGHT. 81 00:02:57,344 --> 00:02:59,046 >> SO, I DON'T KNOW. 82 00:02:59,046 --> 00:03:03,583 IT JUST SEEMED LIKE IT WAS A GOOD TIME. 83 00:03:03,583 --> 00:03:07,921 IF I WAS GOING TO WRITE A MEMOIR THAT MAYBE I SHOULD DO IT NOW. 84 00:03:07,921 --> 00:03:08,922 >> RIGHT. 85 00:03:08,922 --> 00:03:10,924 IF YOU'RE GOING TO UNBURDEN YOURSELF, THIS IS THE TIME. 86 00:03:10,924 --> 00:03:13,193 >> YEAH, I MEAN, YOU KNOW, WHEN SOMETHING TRAUMATIC HAPPENS IN 87 00:03:13,193 --> 00:03:17,364 YOUR LIFE, THEN IT DOES SET YOU UP THINKING ABOUT YOUR WHOLE 88 00:03:17,364 --> 00:03:22,102 LIFE, LIKE HOW DID I GET HERE AND WHO AM I. 89 00:03:22,102 --> 00:03:25,405 >> SO IF THE MARRIAGE HADN'T ENDED AND IF THE BAND HADN'T 90 00:03:25,405 --> 00:03:27,407 ENDED, WE MIGHT NOT HAVE HAD THE BOOK? 91 00:03:27,407 --> 00:03:28,408 >> NO. 92 00:03:28,408 --> 00:03:29,409 >> YEAH. 93 00:03:29,409 --> 00:03:30,410 >> PROBABLY NOT. 94 00:03:30,410 --> 00:03:32,412 >> SO THIS IS THE -- UNFORTUNATELY, 95 00:03:32,412 --> 00:03:34,414 WE HAD TO HAVE THAT TO MAKE THIS HAPPEN, 96 00:03:34,414 --> 00:03:36,416 BUT I'M ACTUALLY GLAD THAT WE ENDED UP WITH THIS IN ANY CASE. 97 00:03:36,416 --> 00:03:38,752 YOUR AFFECT IN THIS BOOK IS FLAT. 98 00:03:38,752 --> 00:03:40,921 THE STORIES ARE TOLD, NOT WITHOUT EMOTION, 99 00:03:40,921 --> 00:03:42,923 BUT THEY'RE TOLD KIND OF MATTER-OF-FACTLY, 100 00:03:42,923 --> 00:03:46,059 AS IF YOU'RE JUST SORT OF GOING BACK THROUGH AND CATALOGING AND 101 00:03:46,059 --> 00:03:48,061 TELLING US THE CHRONOLOGY OF THINGS. 102 00:03:48,061 --> 00:03:50,197 DID THE TONE OF THE BOOK COME TO YOU NATURALLY? 103 00:03:50,197 --> 00:03:52,199 DID YOU WORK OR THINK CAREFULLY ABOUT THIS? 104 00:03:52,199 --> 00:03:55,302 BECAUSE I THINK IT'S UNLIKE A LOT OF MEMOIRS IN THAT IT'S JUST 105 00:03:55,302 --> 00:03:56,503 PRESENTED AS IS. 106 00:03:56,503 --> 00:04:00,207 IT'S NOT PRESENTED WITH ANY FANFARE OR ANY HAVING TO PUFF UP 107 00:04:00,207 --> 00:04:02,309 THE LANGUAGE OR THE STORYTELLING TO MAKE IT INTERESTING. 108 00:04:02,309 --> 00:04:04,311 IT'S JUST HERE'S THE STORY, THAT'S IT. 109 00:04:04,311 --> 00:04:05,312 >> RIGHT. 110 00:04:05,312 --> 00:04:08,048 WELL, I -- I'M KIND OF A MINIMALIST, I GUESS. 111 00:04:08,048 --> 00:04:09,049 >> YEAH. 112 00:04:09,049 --> 00:04:14,121 >> AND, LIKE, YOU KNOW, HAVE A LOT OF SUBTEXT IN THINGS. 113 00:04:14,121 --> 00:04:18,358 BUT I DIDN'T WANT TO ROMANTICIZE IT. 114 00:04:18,358 --> 00:04:20,360 I MEAN, YOU KNOW, SOME THINGS ARE --. 115 00:04:20,360 --> 00:04:22,863 >> WELL, IT'S DEFINITELY NOT ROMANTICIZED, THAT'S FOR SURE. 116 00:04:22,863 --> 00:04:25,799 >> AND, I DON'T KNOW, I LIKE TO BE SUCCINCT. 117 00:04:25,799 --> 00:04:29,436 I'M NOT, LIKE, A SUPER WORDSMITH OR ANYTHING. 118 00:04:29,436 --> 00:04:36,176 SO I KIND OF FELT LIKE I WENT MORE FOR PUNCH AND SUCCINCTNESS 119 00:04:36,176 --> 00:04:39,579 AND KIND OF A DRAMA IN THE SPACE AROUND THE WORDS. 120 00:04:39,579 --> 00:04:40,580 >> RIGHT. 121 00:04:40,580 --> 00:04:42,582 WELL, THE ASSUMPTION THAT A LOT OF PEOPLE THAT WRITE MEMOIRS 122 00:04:42,582 --> 00:04:44,985 MAKE IS THAT YOU WANT TO HEAR FROM THEM AND AGAIN AND AGAIN 123 00:04:44,985 --> 00:04:45,986 AND MORE AND MORE. 124 00:04:45,986 --> 00:04:47,988 AND THE BOOKS CAN BE OVERWHELMING. 125 00:04:47,988 --> 00:04:49,990 BUT THE THING ABOUT THIS IS IT'S KIND OF SPARE, 126 00:04:49,990 --> 00:04:52,859 AND IN THAT RESPECT, IT'S A MUCH EASIER BOOK TO DIGEST. 127 00:04:52,859 --> 00:04:55,996 >> YEAH, WELL I FOUND IN MOST MEMOIRS I'VE READ, 128 00:04:55,996 --> 00:04:59,065 EVEN THE ONES I LIKED, I PRETTY MUCH LOSE IT, YOU KNOW, 129 00:04:59,065 --> 00:05:01,067 TWO-THIRDS OF THE WAY THROUGH OR SOMETHING. 130 00:05:01,067 --> 00:05:02,068 >> RIGHT. 131 00:05:02,068 --> 00:05:04,070 >> LIKE THE KEITH RICHARDS BOOK OR --. 132 00:05:04,070 --> 00:05:05,071 >> RIGHT. 133 00:05:05,071 --> 00:05:06,072 >> YOU KNOW, MANY. 134 00:05:06,072 --> 00:05:08,074 >> NOT TO PICK ON ANYBODY, PARTICULARLY. 135 00:05:08,074 --> 00:05:09,075 >> NO, YEAH. 136 00:05:09,075 --> 00:05:11,044 >> BUT PICK ON HIM, THAT'S FINE. 137 00:05:11,044 --> 00:05:12,045 YEAH. 138 00:05:12,045 --> 00:05:13,046 >> I LOVE KEITH. 139 00:05:13,046 --> 00:05:15,982 BUT, NO, IT WAS -- SO I WAS REALLY AWARE OF I DIDN'T WANT IT 140 00:05:15,982 --> 00:05:16,983 TO BE BORING. 141 00:05:16,983 --> 00:05:17,984 >> RIGHT. 142 00:05:17,984 --> 00:05:20,554 NOW, "GIRL IN A BAND," WE'LL COME TO LATER THE ORIGIN OF THAT 143 00:05:20,554 --> 00:05:21,555 PHRASE. 144 00:05:21,555 --> 00:05:26,293 IT'S PART OF A LYRIC OF A SONG FROM AN ALBUM OF SONIC YOUTH'S, 145 00:05:26,293 --> 00:05:28,695 BUT IT'S "GIRL IN A BAND." IT'S NOT "GIRL IN A MARRIAGE, 146 00:05:28,695 --> 00:05:31,064 " IT'S NOT "GIRL IN A GALLERY," IT'S "GIRL IN A BAND." THE 147 00:05:31,064 --> 00:05:35,435 FOCUS, AT LEAST WE ARE TO TAKE FROM THE TITLE DELIBERATELY 148 00:05:35,435 --> 00:05:39,472 CHOSEN, IS THAT IT'S ON YOUR CAREER IN MUSIC. 149 00:05:39,472 --> 00:05:41,474 THE OTHER STUFF IS ESSENTIALLY THE FRAME AROUND IT, 150 00:05:41,474 --> 00:05:42,576 IS THAT RIGHT? 151 00:05:42,576 --> 00:05:48,014 >> WELL, I MEAN, IT'S REALLY -- THE TITLE WAS SORT OF MEANT 152 00:05:48,014 --> 00:05:49,015 IRONICALLY. 153 00:05:49,015 --> 00:05:53,687 IN A WAY, ONE, IT'S THE QUESTION THAT EVERY FEMALE MUSICIAN HATES 154 00:05:53,687 --> 00:05:56,022 BEING ASKED AND GETS TIRED OF HEARING. 155 00:05:56,022 --> 00:05:59,993 AND THEN ALSO JUST THAT I HAVE DONE A LOT OF OTHER THINGS AND I 156 00:05:59,993 --> 00:06:02,062 DON'T ACTUALLY THINK OF MYSELF AS A MUSICIAN. 157 00:06:02,062 --> 00:06:03,263 >> YOU NO LONGER DO? 158 00:06:03,263 --> 00:06:04,364 >> WELL, I NEVER REALLY DID. 159 00:06:04,364 --> 00:06:05,365 [LAUGHTER]. 160 00:06:05,365 --> 00:06:06,366 >> THAT'S INTERESTING. 161 00:06:06,366 --> 00:06:08,335 SO YOU SPENT ALL THOSE YEARS, THE MOST PUBLIC-FACING PART OF 162 00:06:08,335 --> 00:06:12,806 YOUR CAREER WAS IN THIS BAND, AND DURING THAT TIME IT DIDN'T 163 00:06:12,806 --> 00:06:18,044 SEEM TO YOU OR FEEL TO YOU THAT WE THOUGHT OF YOU THAT WAY OR 164 00:06:18,044 --> 00:06:20,513 SHOULD THINK OF YOU THAT WAY? 165 00:06:20,513 --> 00:06:24,017 >> WELL, IT'S NOT HOW I PERSONALLY IDENTIFY WITH MUSIC. 166 00:06:24,017 --> 00:06:28,388 I MEAN, I DON'T THINK, LIKE, PEOPLE IN PUNK ROCK BANDS 167 00:06:28,388 --> 00:06:30,390 THOUGHT OF THEMSELVES AS MUSICIANS. 168 00:06:30,390 --> 00:06:33,126 I DON'T KNOW, MAYBE THEY DID IN A I'M A MUSICIAN --. 169 00:06:33,126 --> 00:06:34,127 >> IN A LITERAL SENSE. 170 00:06:34,127 --> 00:06:35,128 >> -- COME HOME WITH ME WAY. 171 00:06:35,128 --> 00:06:36,129 [LAUGHTER]. 172 00:06:36,129 --> 00:06:37,130 >> OH, OH. 173 00:06:37,130 --> 00:06:39,532 THAT WENT SOMEPLACE I DIDN'T EXPECT IT TO GO. 174 00:06:39,532 --> 00:06:41,001 OKAY. 175 00:06:41,001 --> 00:06:42,002 ALL RIGHT. 176 00:06:42,002 --> 00:06:43,003 [LAUGHTER]. 177 00:06:43,003 --> 00:06:47,741 >> NO, BUT I MEAN, YOU KNOW, I THINK PUNK ROCK, 178 00:06:47,741 --> 00:06:50,377 WHEN PUNK ROCK HAPPENED, A LOT OF PEOPLE GOT INVOLVED WITH 179 00:06:50,377 --> 00:06:51,378 PLAYING MUSIC. 180 00:06:51,378 --> 00:06:52,379 >> YEAH. 181 00:06:52,379 --> 00:06:55,315 >> I MEAN, I THINK VIV ALBERTINE TALKS ABOUT THIS IN HER BOOK, 182 00:06:55,315 --> 00:06:56,950 ALTHOUGH I HAVEN'T READ IT. 183 00:06:56,950 --> 00:06:59,953 BUT, YOU KNOW, ABOUT SUDDENLY YOU ARE, LIKE, 184 00:06:59,953 --> 00:07:03,623 KIND OF THROWN INTO THIS SITUATION. 185 00:07:03,623 --> 00:07:04,924 YOU KNOW, YOU WERE DRAWN IN --. 186 00:07:04,924 --> 00:07:05,925 >> RIGHT. 187 00:07:05,925 --> 00:07:09,095 >> -- TO THIS, LIKE, EXCITING TIME AND WHAT WAS HAPPENING. 188 00:07:09,095 --> 00:07:13,400 AND A LOT OF PEOPLE BECAME INVOLVED WITH BANDS THAT -- AND 189 00:07:13,400 --> 00:07:14,534 IT TOOK THEM SOMEWHERE AND --. 190 00:07:14,534 --> 00:07:15,535 >> YEAH. 191 00:07:15,535 --> 00:07:17,504 >> THEY DIDN'T START OUT AS MUSICIANS. 192 00:07:17,504 --> 00:07:18,505 >> DIDN'T THINK OF THAT. 193 00:07:18,505 --> 00:07:20,507 AND THE REALITY IS, YOU STARTED OUT MORE IN ART. 194 00:07:20,507 --> 00:07:21,508 >> YES, EXACTLY. 195 00:07:21,508 --> 00:07:22,509 >> RIGHT? 196 00:07:22,509 --> 00:07:24,511 YOU WENT TO ART SCHOOL AND YOU'RE PROBABLY BETTER DEFINED 197 00:07:24,511 --> 00:07:26,513 THESE DAYS, MAYBE THEN, MAYBE FOREVER, 198 00:07:26,513 --> 00:07:28,515 AS AN ARTIST MORE THAN AS A MUSICIAN, RIGHT? 199 00:07:28,515 --> 00:07:29,516 >> YEAH. 200 00:07:29,516 --> 00:07:31,518 I MEAN, I REALIZE PEOPLE KNOW ME HAS A MUSICIAN IN SONIC YOUTH 201 00:07:31,518 --> 00:07:35,355 AND DON'T KNOW MUCH ABOUT THE OTHER PART OF MY PRACTICE, 202 00:07:35,355 --> 00:07:36,790 OUR PRACTICE. 203 00:07:36,790 --> 00:07:40,860 BUT, I DON'T KNOW, I JUST ALWAYS, I GUESS, 204 00:07:40,860 --> 00:07:43,930 FELT A BIT OF AN OUTSIDER IN THE MUSIC SCENE. 205 00:07:43,930 --> 00:07:44,931 >> YEAH. 206 00:07:44,931 --> 00:07:46,366 >> AS KIND OF A VOYEUR OR --. 207 00:07:46,366 --> 00:07:48,435 >> WELL, IT WAS SUCCESSFUL IF THAT WAS WHAT WORKED FOR YOU, 208 00:07:48,435 --> 00:07:49,436 RIGHT? 209 00:07:49,436 --> 00:07:50,437 THAT'S GOOD. 210 00:07:50,437 --> 00:07:52,405 THE THING ABOUT THIS BOOK THAT I REALLY APPRECIATE, AGAIN, 211 00:07:52,405 --> 00:07:54,574 TO THE POINT THAT IT'S ABOUT A LOT OF DIFFERENT THINGS. 212 00:07:54,574 --> 00:07:58,378 THE SENSE OF PLACE IN THIS BOOK IN AT LEAST TWO DISTINCT WAYS 213 00:07:58,378 --> 00:08:00,747 REALLY WORKED SO WELL FOR ME AS A READER. 214 00:08:00,747 --> 00:08:01,881 THE FIRST WAS L.A., THE L.A. 215 00:08:01,881 --> 00:08:02,882 OF YOUR UPBRINGING. 216 00:08:02,882 --> 00:08:04,884 THE FAMILY STUFF WAS FASCINATING. 217 00:08:04,884 --> 00:08:08,788 GREAT GRANDMOTHER WHO SOLD PATTERNS UP AND DOWN THE COAST, 218 00:08:08,788 --> 00:08:09,789 RIGHT? 219 00:08:09,789 --> 00:08:12,525 YOUR GRANDMOTHER, YOUR PARENTS, YOUR DAD AT UCLA. 220 00:08:12,525 --> 00:08:14,194 YOU AT THE UCLA LAB SCHOOL. 221 00:08:14,194 --> 00:08:16,262 THE STUFF WITH YOUR BROTHER, WHICH IS SO MOVING AND 222 00:08:16,262 --> 00:08:18,965 INTERESTING AND ULTIMATELY IMPORTANT TO UNDERSTANDING YOUR 223 00:08:18,965 --> 00:08:19,966 STORY. 224 00:08:19,966 --> 00:08:20,967 BUT L.A. 225 00:08:20,967 --> 00:08:22,969 AS A CHARACTER IN THIS BOOK IS REALLY GREAT. 226 00:08:22,969 --> 00:08:24,971 CAN YOU TALK A LITTLE BIT ABOUT THE IMPORTANCE OF L.A. 227 00:08:24,971 --> 00:08:25,972 TO YOU? 228 00:08:25,972 --> 00:08:29,309 >> WELL, FIRST OF ALL, I TRIED TO THINK OF WAYS NOT TO WRITE 229 00:08:29,309 --> 00:08:33,346 ABOUT MYSELF OR -- YEAH, I WANTED IT TO BE A PORTRAIT OF 230 00:08:33,346 --> 00:08:34,347 L.A. 231 00:08:34,347 --> 00:08:37,016 AT A CERTAIN TIME, THE '60S AND '70s. 232 00:08:37,016 --> 00:08:38,651 AND, I DON'T KNOW. 233 00:08:38,651 --> 00:08:42,889 I JUST THINK THAT THAT'S SOMETHING THAT YOU CAN'T GET OFF 234 00:08:42,889 --> 00:08:47,594 THE INTERNET OR YOU CAN'T GET A SENSE OF THE CONTEXT OR -- YOU 235 00:08:47,594 --> 00:08:50,864 KNOW, I THINK THAT'S WHY MEMOIRS AND BOOKS ARE SO IMPORTANT. 236 00:08:53,133 --> 00:08:55,335 BUT IT'S SUCH A STRONG FEELING ABOUT L.A. 237 00:08:55,335 --> 00:08:59,039 DURING THAT TIME THAT I JUST CARRY IT AROUND STILL. 238 00:08:59,039 --> 00:09:00,040 >> RIGHT. 239 00:09:00,040 --> 00:09:03,176 AND IT WAS CONSEQUENTIAL IN TERMS OF HOW IT AND HOW WHAT YOU 240 00:09:03,176 --> 00:09:06,146 SAW THERE AND DID THERE INFLUENCED YOUR ART AND YOUR 241 00:09:06,146 --> 00:09:07,380 MUSIC LATER, RIGHT? 242 00:09:07,380 --> 00:09:10,116 IT WAS -- IT WASN'T JUST IT HAPPENED TO BE L.A., IT COULD 243 00:09:10,116 --> 00:09:11,084 HAVE BEEN MINNEAPOLIS. 244 00:09:11,084 --> 00:09:13,086 IT WAS ACTUALLY IMPORTANT THAT IT WAS L.A. 245 00:09:13,086 --> 00:09:14,087 AND YOU TOOK A LOT FROM THAT. 246 00:09:14,087 --> 00:09:15,088 >> YEAH, SURE. 247 00:09:15,088 --> 00:09:17,590 BESIDES THE GROWING UP STUFF, I WAS INFLUENCED BY -- A LOT BY 248 00:09:17,590 --> 00:09:19,859 THIS ARTIST/ARCHITECT, JOHN KNIGHT, 249 00:09:19,859 --> 00:09:23,163 WHO WAS A -- WHO IS A CONCEPTUAL ARTIST. 250 00:09:23,163 --> 00:09:28,401 AND IT WAS INTERESTING. 251 00:09:28,401 --> 00:09:32,772 A LOT OF, YOU KNOW, JUST LOOKING AT THE CITY THROUGH -- IN THAT 252 00:09:32,772 --> 00:09:35,175 WAY AND LOOKING FOR A SUBJECT MATTER IN SUBURBIA. 253 00:09:37,510 --> 00:09:38,511 >> YEAH. 254 00:09:38,511 --> 00:09:43,450 >> AND TAKING THAT TO NEW YORK WAS CONFUSING. 255 00:09:43,450 --> 00:09:44,717 BUT IT WAS INTERESTING. 256 00:09:44,717 --> 00:09:46,719 >> BUT IT WAS INTERESTING, RIGHT. 257 00:09:46,719 --> 00:09:49,489 AND THEN NEW YORK, OF COURSE, IS THE OTHER PLACE IN THIS BOOK 258 00:09:49,489 --> 00:09:51,491 THAT IS SUCH A RESONATE CHARACTER. 259 00:09:51,491 --> 00:09:54,561 AND WHAT I LOVED ABOUT YOUR NEW YORK STORIES WERE -- YOU 260 00:09:54,561 --> 00:09:58,031 ACTUALLY INSPIRED THIS THOUGHT, IT'S THE CHOCK-FULL-OF-NUTS NEW 261 00:09:58,031 --> 00:10:00,033 YORK, NOT THE STARBUCKS NEW YORK. 262 00:10:00,033 --> 00:10:01,034 >> RIGHT. 263 00:10:01,034 --> 00:10:02,035 >> RIGHT? 264 00:10:02,035 --> 00:10:05,839 THE ERA OF NEW YORK THAT YOU WRITE ABOUT IS A PRE-GIULIANI, 265 00:10:05,839 --> 00:10:09,342 PRE-CLEANED UP NEW YORK, PRE EVERYTHING THAT WE NOW, 266 00:10:09,342 --> 00:10:11,010 DISNEYLAND KIND OF NEW YORK. 267 00:10:11,010 --> 00:10:14,113 IT WAS THE OLD ROUGH AND TUMBLE AND MORE INTERESTING NEW YORK, 268 00:10:14,113 --> 00:10:15,114 RIGHT? 269 00:10:15,114 --> 00:10:16,316 >> YEAH. 270 00:10:16,316 --> 00:10:18,518 DEFINITELY. 271 00:10:18,518 --> 00:10:23,690 IT'S -- YEAH, 42ND STREET, TIMES SQUARE WAS -- STILL HAD THIS, 272 00:10:23,690 --> 00:10:29,028 SORT OF LIKE THAT SHOW, B MOVIE. 273 00:10:29,028 --> 00:10:31,030 >> HOOKERS AND THE DRUGS, RIGHT? 274 00:10:31,030 --> 00:10:33,032 THAT WAS WHEN NEW YORK WAS NEW YORK, RIGHT? 275 00:10:33,032 --> 00:10:35,034 >> YEAH, BEFORE DISNEYLAND MOVED IN. 276 00:10:35,034 --> 00:10:36,035 >> RIGHT. 277 00:10:36,035 --> 00:10:38,037 BUT ALSO THE MUSIC SCENE IN NEW YORK AND THE CLUB SCENE IN NEW 278 00:10:38,037 --> 00:10:40,039 YORK, AND WHICH WAS IMPORTANT TO YOU ALL GETTING GOING AS A BAND. 279 00:10:44,878 --> 00:10:46,880 I WAS REALLY INTERESTED IN THE DISTINCTION YOU MADE. 280 00:10:46,880 --> 00:10:49,449 I SWEAR I HAD NOT THOUGHT OF IT THIS WAY OR HEARD THIS. 281 00:10:49,449 --> 00:10:53,319 NO WAVE AS A GENERE OF MUSIC? 282 00:10:53,319 --> 00:10:54,320 >> YEAH. 283 00:10:54,320 --> 00:10:56,322 I MEAN, IT'S HARD TO DESCRIBE NO WAVE, 284 00:10:56,322 --> 00:11:01,261 LIKE BANDS LIKE TEENAGE JESUS AND THE JERKS AND DNA AND MARS 285 00:11:01,261 --> 00:11:06,533 AND SUICIDE AND -- BUT IT WAS A VERY DISSONANT, 286 00:11:06,533 --> 00:11:09,168 KIND OF DECONSTRUCTED ROCK SOUND. 287 00:11:09,168 --> 00:11:10,170 >> YEAH. 288 00:11:10,170 --> 00:11:12,171 >> IT WASN'T -- THERE WAS -- YOU KNOW, 289 00:11:12,171 --> 00:11:13,172 A LOT OF IT WAS REALLY DENSE. 290 00:11:13,172 --> 00:11:20,914 AND IT WAS VERY -- ALMOST LIKE ABSTRACT EXPRESSIONISM IN MUSIC. 291 00:11:20,914 --> 00:11:22,615 >> YEAH. 292 00:11:22,615 --> 00:11:23,616 >> WITH VOCALS. 293 00:11:23,616 --> 00:11:25,618 >> THERE'S THAT ART INFLUENCE AGAIN, RIGHT? 294 00:11:25,618 --> 00:11:26,619 >> YEAH. 295 00:11:26,619 --> 00:11:28,621 A LOT OF THE BANDS, ACTUALLY, WERE, I THINK, 296 00:11:28,621 --> 00:11:29,622 ARTISTS WHO MOVED TO NEW YORK. 297 00:11:29,622 --> 00:11:32,358 AND THEN THERE WERE PEOPLE LIKE GLENN BRANCA AND RHYS CHATHAM, 298 00:11:32,358 --> 00:11:35,528 WHO WERE IN BANDS AND THEN STARTED DOING THESE, SORT OF, 299 00:11:35,528 --> 00:11:38,264 LITTLE MINI ORCHESTRA BANDS --. 300 00:11:38,264 --> 00:11:39,265 >> YEAH. 301 00:11:39,265 --> 00:11:43,236 >> BASED ON MINIMALIST COMPOSER NOTIONS OF OVERTONES. 302 00:11:43,236 --> 00:11:48,975 LIKE GLENN HAD, YOU KNOW, FIVE GUITARS ALL TUNED TO A CERTAIN 303 00:11:48,975 --> 00:11:51,277 TUNING, WHICH HAS INFLUENCED US, EVENTUALLY. 304 00:11:51,277 --> 00:11:52,278 >> YEAH. 305 00:11:52,278 --> 00:11:53,279 >> YEAH. 306 00:11:53,279 --> 00:11:55,281 >> AND SO THE BAND -- YOU KNOW, THERE'S NO WAY TO TAKE 30 YEARS 307 00:11:55,281 --> 00:11:57,283 OF A BAND AND DISTILL IT INTO A COUPLE OF MINUTES. 308 00:11:57,283 --> 00:12:00,887 AND EVERYONE WHO SEES THIS, WHO KNOWS YOU OR KNOWS THE BAND WILL 309 00:12:00,887 --> 00:12:03,723 SAY OH I, YOU KNOW, GOO OR DAYDREAM. 310 00:12:03,723 --> 00:12:06,359 DIFFERENT PEOPLE HAVE DIFFERENT THINGS THAT THEY ACCESSED OR 311 00:12:06,359 --> 00:12:07,360 LOVED. 312 00:12:07,360 --> 00:12:09,963 I WANT TO ASK YOU ABOUT HOW THE WORLD CHANGED IN THOSE 30 YEARS. 313 00:12:09,963 --> 00:12:12,465 YOU STRADDLED TWO DIFFERENT ERAS. 314 00:12:12,465 --> 00:12:15,068 YOU KNOW, THE OLD WAY OF DOING BUSINESS IN A LITERAL SENSE, 315 00:12:15,068 --> 00:12:17,770 THE SELLING AND DISTRIBUTION OF MUSIC, 316 00:12:17,770 --> 00:12:20,306 THE RELATIONSHIP WITH LABELS, ALL THAT KIND OF STUFF, 317 00:12:20,306 --> 00:12:23,443 AND ALSO TOURING AND THAT WHOLE ENVIRONMENT ON THE ONE HAND. 318 00:12:23,443 --> 00:12:25,912 AND THEN THE MORE RECENT PERIOD OF SONIC YOUTH, 319 00:12:25,912 --> 00:12:29,716 BEFORE THE BAND BROKE UP, DIGITAL DISTRIBUTION, 320 00:12:29,716 --> 00:12:31,884 PEOPLE ACCESSING MUSIC ONLINE FOR FREE. 321 00:12:31,884 --> 00:12:33,886 THE WHOLE ECONOMICS OF IT HAD BEEN UPTURNED. 322 00:12:33,886 --> 00:12:36,656 CAN YOU TALK A LITTLE BIT ABOUT YOUR VIEW OF HOW THE WORLD THAT 323 00:12:36,656 --> 00:12:40,393 YOU WERE IN AS A BAND CHANGED IN THAT TIME? 324 00:12:40,393 --> 00:12:42,362 >> WELL, I DON'T KNOW. 325 00:12:42,362 --> 00:12:47,367 LIKE, I MEAN, LIKE OUR ATTITUDE IN THE BEGINNING WAS NEVER EVEN 326 00:12:47,367 --> 00:12:49,736 THOUGHT ABOUT BEING ON A MAJOR LABEL, FOR ONE THING. 327 00:12:49,736 --> 00:12:51,738 IT WAS BABY STEP, YOU KNOW, GETTING A GIG AT CBGB'S, 328 00:12:51,738 --> 00:12:55,008 GETTING A BETTER SLOT AT CBGB'S. 329 00:12:55,008 --> 00:12:59,212 >> BUT THERE WAS NO LONG-RANGE PLAN? 330 00:12:59,212 --> 00:13:01,014 >> NO LONG-RANGE PLAN. 331 00:13:01,014 --> 00:13:06,519 AND IT WAS -- YOU KNOW, IT JUST KIND OF GROWING OUR AUDIENCE 332 00:13:06,519 --> 00:13:10,823 AND, YOU KNOW, WE WERE ALWAYS LOOKING FOR BETTER DISTRIBUTION. 333 00:13:10,823 --> 00:13:14,427 AND WE DID -- YOU KNOW, WE LEFT HOMESTEAD FOR SST AND THEN BLAST 334 00:13:14,427 --> 00:13:16,429 FIRST WAS ALWAYS IN THE PICTURE. 335 00:13:16,429 --> 00:13:21,434 AND WE DID MAKE MOST OF -- I DON'T KNOW IF WE MADE MOST OF 336 00:13:21,434 --> 00:13:25,571 OUR INCOME FROM TOURING OR NOT, BUT BECAUSE WE ACTUALLY HAD AN 337 00:13:25,571 --> 00:13:27,573 ENGLISH COMPANY AND AN AMERICAN COMPANY. 338 00:13:27,573 --> 00:13:32,645 SO WE DID GET MONEY FROM BOTH SIDES. 339 00:13:32,645 --> 00:13:33,646 >> YEAH. 340 00:13:33,646 --> 00:13:37,417 >> BUT I THINK WE PROBABLY MADE A FAIR AMOUNT OF MONEY FROM 341 00:13:37,417 --> 00:13:40,787 TOURING, WHICH IS STILL THE WAY MOST PEOPLE MAKE MONEY. 342 00:13:40,787 --> 00:13:41,754 >> RIGHT. 343 00:13:41,754 --> 00:13:42,755 THAT'S THE TENSION. 344 00:13:42,755 --> 00:13:44,757 ARE YOU A TOURING BAND PRIMARILY THAT ALSO RECORDS? 345 00:13:44,757 --> 00:13:46,759 OR ARE YOU A BAND THAT MAKES ALBUMS AND THEN TOURS TO SUPPORT 346 00:13:46,759 --> 00:13:47,760 THE ALBUMS, RIGHT? 347 00:13:47,760 --> 00:13:48,761 YOU CAN BE ONE OR THE OTHER. 348 00:13:48,761 --> 00:13:49,762 POTENTIALLY. 349 00:13:49,762 --> 00:13:53,032 >> YEAH, IT'S -- I DON'T KNOW. 350 00:13:53,032 --> 00:13:57,036 LIKE, I REALLY DON'T KNOW HOW BANDS ACTUALLY SURVIVE RIGHT 351 00:13:57,036 --> 00:13:58,037 NOW. 352 00:13:58,037 --> 00:14:00,039 SMALL BANDS, YOU KNOW, I HAVE NO IDEA. 353 00:14:00,039 --> 00:14:02,175 >> ESPECIALLY IN A TIME WHEN SO MUCH MUSIC IS BEING CONSUMED 354 00:14:02,175 --> 00:14:04,377 THROUGH SPOTIFY AND OTHER SERVICES THAT ALLOW YOU TO 355 00:14:04,377 --> 00:14:05,378 STREAM IT. 356 00:14:05,378 --> 00:14:07,413 EVEN IF YOU DON'T GET TO KEEP IT, IT'S ESSENTIALLY THE SAME. 357 00:14:07,413 --> 00:14:11,350 PROBABLY LESS MONEY -- IT WOULD FEEL LIKE LESS MONEY, FEEL LIKE, 358 00:14:11,350 --> 00:14:13,353 LESS MONEY IS CHANGING HANDS NOW. 359 00:14:13,353 --> 00:14:14,353 >> YEAH. 360 00:14:14,353 --> 00:14:16,355 YEAH, I MEAN, IT'S VERY AMBIGUOUS. 361 00:14:16,355 --> 00:14:18,991 LIKE, I NEVER REALLY GOT THE SENSE THAT WE WERE MAKING ANY 362 00:14:18,991 --> 00:14:21,961 MONEY FROM RECORD SALES. 363 00:14:21,961 --> 00:14:22,962 >> ANYWAY. 364 00:14:22,962 --> 00:14:23,963 >> YEAH. 365 00:14:23,963 --> 00:14:25,965 >> SO MAYBE NOTHING TO LOSE, RIGHT? 366 00:14:25,965 --> 00:14:30,403 >> YEAH, ALTHOUGH WE ALWAYS HAD THIS BACK CATALOG THAT WE COULD, 367 00:14:30,403 --> 00:14:32,739 YOU KNOW, KEEP PUTTING BACK INTO PRINT, SO --. 368 00:14:32,739 --> 00:14:33,840 >> YEAH. 369 00:14:33,840 --> 00:14:35,842 WE WERE TALKING ABOUT AIMEE MANN EARLIER BEFORE WE CAME OUT. 370 00:14:35,842 --> 00:14:38,711 AIMEE MANN IS ONE OF THE PEOPLE TODAY, SHE'S NOT ALONE IN THIS, 371 00:14:38,711 --> 00:14:42,048 WHO ARE ACTUALLY, YOU KNOW, RESISTING THIS TURNING 372 00:14:42,048 --> 00:14:45,551 EVERYTHING OVER TO THE ELECTRONIC END OF THINGS AND 373 00:14:45,551 --> 00:14:47,553 ALLOWING MUSIC TO BE, ESSENTIALLY, 374 00:14:47,553 --> 00:14:49,555 TAKEN WITHOUT BEING COMPENSATED FOR IT. 375 00:14:49,555 --> 00:14:53,092 ALL THE SONIC YOUTH RECORDS, FROM MY CURSORY EXAMINATION, 376 00:14:53,092 --> 00:14:54,660 ARE ALL AVAILABLE ON SPOTIFY. 377 00:14:54,660 --> 00:14:56,662 YOU KNOW, YOU CAN GET ACCESS TO THIS STUFF. 378 00:14:56,662 --> 00:14:58,564 YOU HAVE NO BEEF WITH THAT? 379 00:14:58,564 --> 00:15:02,502 >> I DON'T REALLY PAY ATTENTION TO IT. 380 00:15:02,502 --> 00:15:06,439 I MEAN, I -- I DON'T KNOW. 381 00:15:06,439 --> 00:15:08,808 I DON'T KNOW, REALLY. 382 00:15:08,808 --> 00:15:11,244 I TRUST OUR MANAGER'S GOT US THE BEST DEAL HE COULD. 383 00:15:11,244 --> 00:15:13,346 >> HONESTLY NOT HAVING AN OPINION ABOUT IT IS A PERFECTLY 384 00:15:13,346 --> 00:15:14,347 GOOD ANSWER. 385 00:15:14,347 --> 00:15:15,348 >> I REALLY DON'T. 386 00:15:15,348 --> 00:15:17,350 YOU KNOW, I JUST DON'T PAY ATTENTION TO IT. 387 00:15:17,350 --> 00:15:19,352 I JUST FIGURE WE'RE JUST NOT MAKING ANY MONEY. 388 00:15:19,352 --> 00:15:20,353 [LAUGHTER]. 389 00:15:20,353 --> 00:15:21,354 >> RIGHT. 390 00:15:21,354 --> 00:15:23,956 >> I MEAN, I JUST -- MY BAR IS SET PRETTY LOW. 391 00:15:23,956 --> 00:15:24,957 >> RIGHT. 392 00:15:24,957 --> 00:15:26,959 YOU'RE PRETTY ZEN ABOUT THE WHOLE THING. 393 00:15:26,959 --> 00:15:28,961 >> YEAH, BUT I, YOU KNOW, NOW I HAVE THIS DUO CALLED BODY/HEAD 394 00:15:28,961 --> 00:15:33,366 WITH BILL NACE. 395 00:15:33,366 --> 00:15:34,367 >> BILL NACE, YEAH. 396 00:15:34,367 --> 00:15:41,007 >> AND THERE ARE ONLY TWO OF US, SO EVEN IF WE HAVE A SOUND 397 00:15:41,007 --> 00:15:45,445 PERSON -- LIKE, YOU CAN MAKE, YOU KNOW, 398 00:15:45,445 --> 00:15:48,815 I CAN ACTUALLY GO OUT AND MAKE AS MUCH MONEY OR COME BACK WITH 399 00:15:48,815 --> 00:15:50,817 AS MUCH MONEY AS I DID AT THE END OF, LIKE, 400 00:15:50,817 --> 00:15:52,919 A MONTH-LONG SONIC YOUTH TOUR. 401 00:15:52,919 --> 00:15:54,921 >> DOING WHAT YOU'RE DOING TODAY. 402 00:15:54,921 --> 00:15:57,723 >> YEAH, BECAUSE THERE AREN'T ALL THE EXPENSES. 403 00:15:57,723 --> 00:15:59,725 YOU KNOW, IT'S JUST LIKE ALL THE OVERHEAD --. 404 00:15:59,725 --> 00:16:00,726 >> WELL, NO OVERHEAD, RIGHT? 405 00:16:00,726 --> 00:16:02,728 >> YOU MAKE A LOT OF MONEY BUT THEN YOU JUST HAVE ALL THESE 406 00:16:02,728 --> 00:16:03,729 EXPENSES. 407 00:16:03,729 --> 00:16:05,731 >> ARE YOU STILL ENJOYING DOING IT, OUT PERFORMING? 408 00:16:05,731 --> 00:16:06,732 >> YEAH, YEAH. 409 00:16:06,732 --> 00:16:09,135 ESPECIALLY IF I DON'T HAVE TO PLUG IN MY OWN EFFECT BOXES AND 410 00:16:09,135 --> 00:16:10,503 GET DOWN ON MY KNEES. 411 00:16:10,503 --> 00:16:11,504 [LAUGHTER]. 412 00:16:11,504 --> 00:16:14,073 >> LET ME COME BACK TO THE BOOK AND TO THE TITLE. 413 00:16:14,073 --> 00:16:18,177 AGAIN, WE SAID "GIRL IN A BAND" IS -- THE BASIS FOR IT IS A 414 00:16:18,177 --> 00:16:20,913 LYRIC, HAVING "SACRED TRICKSTER" IS THE SONG, IS THAT RIGHT? 415 00:16:20,913 --> 00:16:24,750 AND THE QUESTION IS ASKED, WHAT'S IT LIKE TO BE A GIRL IN A 416 00:16:24,750 --> 00:16:25,751 BAND? 417 00:16:25,751 --> 00:16:27,753 I'M GOING TO WALK UP TO THE EDGE HERE, DANGEROUSLY, 418 00:16:27,753 --> 00:16:28,754 OF MANSPLAINING. 419 00:16:28,754 --> 00:16:30,756 I THINK OF IT MORE AS MAN-SPLORING, ACTUALLY, 420 00:16:30,756 --> 00:16:31,757 ASKING THE QUESTION. 421 00:16:31,757 --> 00:16:33,059 YOU KNOW, THIS QUESTION --. 422 00:16:33,059 --> 00:16:34,060 [LAUGHTER]. 423 00:16:34,060 --> 00:16:35,061 >> YOU'RE A GENIUS. 424 00:16:35,061 --> 00:16:37,063 >> GET READY, GO AHEAD, GO AHEAD. 425 00:16:37,063 --> 00:16:38,064 GO AHEAD, SIT BACK. 426 00:16:38,064 --> 00:16:41,033 WHAT I WANT TO KNOW IS ACTUALLY NOT AN ANSWER TO THE QUESTION, 427 00:16:41,033 --> 00:16:43,035 BUT I WANT TO UNDERSTAND IF YOUR EXPERIENCE, 428 00:16:43,035 --> 00:16:45,037 WHICH YOU WRITE ABOUT QUITE, I THINK, 429 00:16:45,037 --> 00:16:48,774 QUITE MOVINGLY AND COMPELLINGLY IN THIS BOOK, IS IT UNIVERSAL? 430 00:16:48,774 --> 00:16:51,177 SO IF I HAD GEORGIA HUBLEY FROM YO LA TENGA UP HERE, 431 00:16:51,177 --> 00:16:54,146 WOULD SHE HAVE THE SAME EXPERIENCE, IN THIS RESPECT, 432 00:16:54,146 --> 00:16:55,414 AS YOU HAVE WRITTEN ABOUT? 433 00:16:55,414 --> 00:16:58,150 OR IF I HAD CARRIE BROWNSTEIN HERE WHO IS IN A BAND OF ALL 434 00:16:58,150 --> 00:16:59,485 WOMEN. 435 00:16:59,485 --> 00:17:01,454 IS THE EXPERIENCE THAT YOU'RE TALKING ABOUT, 436 00:17:01,454 --> 00:17:02,455 WHICH IS A LEGITIMATE TOPIC. 437 00:17:02,455 --> 00:17:04,457 YOU RAISED IT AND I THINK IT'S A GOOD TOPIC AND IT OUGHT TO BE 438 00:17:04,457 --> 00:17:05,558 DISCUSSED CANDIDLY AND FRANKLY. 439 00:17:05,558 --> 00:17:06,792 IS IT A UNIVERSAL EXPERIENCE? 440 00:17:06,792 --> 00:17:08,527 >> I THINK IT IS. 441 00:17:08,527 --> 00:17:11,797 I MEAN, WHEN YOU'RE TALKING ABOUT PEOPLE WHO PLAY ROCK BANDS 442 00:17:11,797 --> 00:17:17,803 OR -- I MEAN, I DON'T THINK ANYONE SAYS WHAT'S IT LIKE TO BE 443 00:17:20,373 --> 00:17:22,875 A FEMALE POP SINGER, YOU KNOW WHAT I MEAN? 444 00:17:22,875 --> 00:17:23,876 >> RIGHT. 445 00:17:23,876 --> 00:17:26,212 AND NO ONE SAYS WHAT IT'S LIKE TO BE A MAN IN A BAND OR A BOY 446 00:17:26,212 --> 00:17:27,213 IN A BAND. 447 00:17:27,213 --> 00:17:28,214 >> WELL, YEAH. 448 00:17:28,214 --> 00:17:29,215 THAT'S TRUE. 449 00:17:29,215 --> 00:17:31,217 >> I DON'T THINK I'VE EVER HEARD ANYBODY ASK THAT QUESTION. 450 00:17:31,217 --> 00:17:32,218 >> YEAH, YEAH. 451 00:17:32,218 --> 00:17:33,219 I'VE ASKED THAT, BUT --. 452 00:17:33,219 --> 00:17:34,220 >> YOU HAVE? 453 00:17:34,220 --> 00:17:35,221 [LAUGHTER]. 454 00:17:35,221 --> 00:17:37,223 >> WELL, WHAT'S YOUR PARTICULAR INSIGHT INTO THAT? 455 00:17:37,223 --> 00:17:39,225 >> YOU KNOW, THAT'S KIND OF HOW I GOT INVOLVED WITH PLAYING 456 00:17:39,225 --> 00:17:40,226 MUSIC. 457 00:17:40,226 --> 00:17:42,228 I WAS WRITING ARTICLES ABOUT THAT MALE BONDING. 458 00:17:42,228 --> 00:17:43,229 >> YEAH, RIGHT. 459 00:17:43,229 --> 00:17:46,132 >> I DON'T HAVE ANY INSIGHT. 460 00:17:46,132 --> 00:17:50,536 ALTHOUGH, YOU KNOW, IT'S ALL STILL MORE PARALLEL PLAY. 461 00:17:50,536 --> 00:17:57,610 YOU KNOW, IT'S COMMUNICATING, PLAYING SIDE-BY-SIDE OR, 462 00:17:57,610 --> 00:17:58,611 YOU KNOW. 463 00:17:58,611 --> 00:18:01,681 AND SO IT'S NO DIFFERENT THAN GOING OUT BOWLING TOGETHER. 464 00:18:01,681 --> 00:18:02,682 >> RIGHT. 465 00:18:02,682 --> 00:18:06,319 EXCEPT THE EXPERIENCE ONE INTUITS FROM THIS THAT THE 466 00:18:06,319 --> 00:18:10,456 EXPERIENCE OF BEING A WOMAN IN A BAND LIKE SONIC YOUTH AND BEING 467 00:18:10,456 --> 00:18:13,326 A MAN IN A BAND LIKE SONIC YOUTH IS NOT EQUIVALENT, RIGHT? 468 00:18:13,326 --> 00:18:14,327 >> YEAH, SURE. 469 00:18:14,327 --> 00:18:15,528 >> RIGHT. 470 00:18:15,528 --> 00:18:20,299 >> I THINK WOMEN ARE MORE COMMUNICATORS. 471 00:18:20,299 --> 00:18:25,004 LIKE, I'VE BEEN IN BANDS WITH GIRLS, LIKE FREE KITTEN AND --. 472 00:18:25,004 --> 00:18:26,072 >> YEP. 473 00:18:26,072 --> 00:18:30,910 >> AND IT'S NOT JUST THAT THERE ARE DIFFERENT PERSONALITIES, 474 00:18:30,910 --> 00:18:34,547 IT IS MORE THAT I THINK WOMEN LIKE TO TALK. 475 00:18:34,547 --> 00:18:36,549 I MEAN, ASK LEE OR KENNY ABOUT THIS. 476 00:18:36,549 --> 00:18:39,719 YOU KNOW, THEY TALK ABOUT EVERYTHING AND THEY TALK IT ALL 477 00:18:39,719 --> 00:18:45,224 OUT, WHICH I THINK MEN OR BOYS IN BANDS DON'T --. 478 00:18:45,224 --> 00:18:46,225 >> LESS INCLINED TO DO? 479 00:18:46,225 --> 00:18:47,226 >> YEAH. 480 00:18:47,226 --> 00:18:48,227 >> RIGHT? 481 00:18:48,227 --> 00:18:50,229 WELL, LET ME CONTINUE TO WALK UP TO THE EDGE OF GOING INTO AN 482 00:18:50,229 --> 00:18:52,231 ABYSS AND ASK ONE MORE QUESTION ON THIS SUBJECT. 483 00:18:52,231 --> 00:18:53,232 >> YEAH. 484 00:18:53,232 --> 00:18:56,602 >> SO IN 1994, YOU HAD A CHILD. 485 00:18:56,602 --> 00:19:00,239 NO ONE WOULD ASK THURSTON WHAT'S IT LIKE TO BE A DAD AND BE IN A 486 00:19:00,239 --> 00:19:01,240 BAND. 487 00:19:01,240 --> 00:19:02,241 >> RIGHT. 488 00:19:02,241 --> 00:19:04,243 >> BUT EVERYBODY FEELS COMPELLED TO ASK A WOMAN, 489 00:19:04,243 --> 00:19:06,245 WHO HAS A CHILD AND TOURS, WHAT'S IT LIKE TO BE A ROCK 'N' 490 00:19:06,245 --> 00:19:07,246 ROLL MOM. 491 00:19:07,246 --> 00:19:08,214 >> YEAH. 492 00:19:08,214 --> 00:19:10,216 >> IS THIS EVEN A TOPIC WORTH EXPLORING? 493 00:19:10,216 --> 00:19:12,284 SHOULD PEOPLE BE THINKING ABOUT YOU AND PEOPLE LIKE YOU IN THIS 494 00:19:12,284 --> 00:19:13,819 SITUATION IN TERMS LIKE THIS? 495 00:19:13,819 --> 00:19:21,027 >> WELL, I THINK SO, BUT I DO THINK A LOT OF MEN GET -- HAVE 496 00:19:21,027 --> 00:19:22,028 RESENTMENT. 497 00:19:22,028 --> 00:19:24,030 NO ONE THINKS ABOUT HOW THEY FEEL. 498 00:19:24,030 --> 00:19:26,032 >> DO YOU THINK MEN ARE VICTIMS IN THIS CASE? 499 00:19:26,032 --> 00:19:27,033 [LAUGHTER]. 500 00:19:27,033 --> 00:19:28,267 >> THAT'S A NEW ONE. 501 00:19:28,267 --> 00:19:29,502 I HADN'T HEARD THAT ONE. 502 00:19:29,502 --> 00:19:30,970 >> A LITTLE BIT, YOU KNOW. 503 00:19:30,970 --> 00:19:33,906 NO, I MEAN, IT'S HARD TO GO AWAY AND LEAVE YOUR FAMILY. 504 00:19:33,906 --> 00:19:34,907 >> RIGHT. 505 00:19:34,907 --> 00:19:36,909 BUT YOUR DAUGHTER, BY ALL ACCOUNTS, 506 00:19:36,909 --> 00:19:39,345 SEEMS TO BE REMARKABLE AND HAS GROWN UP IN A WAY THAT WOULD 507 00:19:39,345 --> 00:19:43,816 SUGGEST THE KIND OF PARENTING THAT SHE GOT WAS TOTALLY 508 00:19:43,816 --> 00:19:46,018 APPROPRIATE TO THE JOB. 509 00:19:46,018 --> 00:19:48,187 AND I'M THINKING, FROM YOUR PERSPECTIVE, 510 00:19:48,187 --> 00:19:51,424 I WOULD THINK IF I WERE ON THE ROAD AS MUCH AS THE BAND, 511 00:19:51,424 --> 00:19:53,426 OR A BAND, IS ON THE ROAD IN THAT TIME, 512 00:19:53,426 --> 00:19:54,427 IT WOULD BE REALLY HARD. 513 00:19:54,427 --> 00:19:55,428 >> YEAH, NO. 514 00:19:55,428 --> 00:19:57,430 >> I'M EMPATHETIC PARENT-TO-PARENT, RIGHT? 515 00:19:57,430 --> 00:20:00,733 >> YEAH, NO, IT WAS HARD BECAUSE EVEN IF YOU BRING SOMEONE ALONG 516 00:20:00,733 --> 00:20:06,539 TO HELP TAKE CARE, YOU STILL HAVE TO -- IT'S HARD TO EKE OUT 517 00:20:06,539 --> 00:20:08,908 TIME FOR YOURSELF --. 518 00:20:08,908 --> 00:20:09,909 >> YEP. 519 00:20:09,909 --> 00:20:11,911 >> LIKE ON THE DAY OFF, EVERYONE HAS A DAY OFF BUT YOU BECAUSE 520 00:20:11,911 --> 00:20:12,912 THEN YOU'RE WITH --. 521 00:20:12,912 --> 00:20:14,413 >> RIGHT. 522 00:20:14,413 --> 00:20:16,415 >> -- YOUR CHILD, WHO YOU WANT TO BE WITH, 523 00:20:16,415 --> 00:20:17,650 BUT YOU'RE REALLY TIRED. 524 00:20:17,650 --> 00:20:18,651 >> OF COURSE. 525 00:20:18,651 --> 00:20:19,652 YEAH. 526 00:20:19,652 --> 00:20:26,725 >> AND, YEAH, THERE'S JUST A LOT TO WORRY AND THINK ABOUT THAT 527 00:20:26,725 --> 00:20:28,794 YOU CARRY ALONG WITH YOU THAN ON TOUR --. 528 00:20:28,794 --> 00:20:30,796 >> SHE'S AT THE ART INSTITUTE IN CHICAGO NOW? 529 00:20:30,796 --> 00:20:31,797 >> UH-HUH. 530 00:20:31,797 --> 00:20:32,798 >> YEAH? 531 00:20:32,798 --> 00:20:34,366 SHE'S A CHIP OFF THE OLD BLOCK. 532 00:20:34,366 --> 00:20:36,368 ART SCHOOL, ART SCHOOL, RIGHT? 533 00:20:36,368 --> 00:20:40,506 >> YEAH, SHE'S -- I THINK SHE'S GOING TO HAVE A MUCH MORE 534 00:20:40,506 --> 00:20:42,942 STRAIGHTFORWARD CAREER PATH. 535 00:20:42,942 --> 00:20:44,243 >> WHAT DOES SHE WANT TO DO? 536 00:20:44,243 --> 00:20:45,244 >> BE A PAINTER. 537 00:20:45,244 --> 00:20:46,245 >> YEAH? 538 00:20:46,245 --> 00:20:47,246 >> YEAH. 539 00:20:47,246 --> 00:20:48,214 >> PRETTY GOOD. 540 00:20:48,214 --> 00:20:49,215 >> YEAH. 541 00:20:49,215 --> 00:20:51,217 '94 WAS SIGNIFICANT IN THIS BOOK BECAUSE YOU TALK ABOUT IT IN TWO 542 00:20:51,217 --> 00:20:52,218 DIFFERENT WAYS. 543 00:20:52,218 --> 00:20:54,220 COCO WAS BORN AND ALSO KURT COBAIN DIED. 544 00:20:54,220 --> 00:20:56,455 HE IS ALSO A REALLY INTERESTING CHARACTER IN THIS BOOK. 545 00:20:56,455 --> 00:21:00,025 AND THE STORY OF KURT COBAIN AND NIRVANA IS TOLD HERE, 546 00:21:00,025 --> 00:21:03,395 IN A VERY PERSONAL WAY BY YOU, DIFFERENT FROM WHAT I'VE READ 547 00:21:03,395 --> 00:21:04,396 BEFORE. 548 00:21:04,396 --> 00:21:06,398 WHAT DID YOU SEE IN HIM AND THEM? 549 00:21:06,398 --> 00:21:08,467 WHAT GAVE YOU A SENSE THAT THEY WERE GOING TO BE SOMETHING? 550 00:21:11,170 --> 00:21:13,806 >> WELL, THEY HAD THESE GREAT SONGS, FOR ONE THING, 551 00:21:13,806 --> 00:21:18,778 THAT WERE ALMOST LIKE -- I EVEN THINK OF THEM AS, LIKE, 552 00:21:18,778 --> 00:21:22,715 SCULPTURAL IN THEIR SORT OF MINIMAL ASPECT OF, LIKE, 553 00:21:22,715 --> 00:21:24,016 THE RHYTHM SECTION. 554 00:21:24,016 --> 00:21:26,018 AND, BUT, I DON'T KNOW. 555 00:21:26,018 --> 00:21:32,424 JUST THAT KURT, HE WASN'T PERFORMING IN THE SENSE OF 556 00:21:32,424 --> 00:21:34,593 ENTERTAINMENT, YOU KNOW, OR HIS IDEA OF ENTERTAINMENT. 557 00:21:34,593 --> 00:21:40,599 YOU KNOW, HE WAS JUST TAKING IT AS FAR AS HE COULD. 558 00:21:43,035 --> 00:21:44,036 >> YEAH. 559 00:21:44,036 --> 00:21:45,037 >> LIVE PERFORMANCE. 560 00:21:45,037 --> 00:21:47,673 AND IF HE FELT FRUSTRATED OR ANGRY, 561 00:21:47,673 --> 00:21:49,742 HE DIDN'T REALLY HAVE A FILTER FOR THAT. 562 00:21:49,742 --> 00:21:50,876 >> YEAH. 563 00:21:50,876 --> 00:21:52,845 >> FRANKLY, I DON'T KNOW WHAT HE WAS THINKING. 564 00:21:52,845 --> 00:21:56,282 BUT, YOU KNOW, WHEN YOU SEE SOMEBODY HURL THEMSELVES ON A 565 00:21:56,282 --> 00:21:59,518 DRUM KIT, LIKE THAT'S NOT JUST --. 566 00:21:59,518 --> 00:22:00,519 >> THAT'S A TELL. 567 00:22:00,519 --> 00:22:02,655 >> THAT'S NOT PETE TOWNSHEND SMASHING A GUITAR. 568 00:22:02,655 --> 00:22:03,656 >> RIGHT. 569 00:22:03,656 --> 00:22:04,657 >> YOU KNOW WHAT I MEAN? 570 00:22:04,657 --> 00:22:05,658 IT'S --. 571 00:22:05,658 --> 00:22:07,993 >> WELL, IF HE WERE HERE AND I ASKED HIM A VERSION OF THE 572 00:22:07,993 --> 00:22:12,565 QUESTION I ASKED YOU, ARE YOU DOING IT FOR US OR ARE YOU DOING 573 00:22:12,565 --> 00:22:13,566 IT FOR YOU? 574 00:22:13,566 --> 00:22:15,534 HE'S DOING IT FOR HIM. 575 00:22:15,534 --> 00:22:19,805 >> BUT I ALSO THINK, YOU KNOW, LIKE MAYBE HE HAD THIS IDEA OF 576 00:22:19,805 --> 00:22:23,909 ROCK AS BEING UNCOMPROMISING, IN A WAY, AND PERFORMING LIVE, 577 00:22:23,909 --> 00:22:30,015 LIKE IT'S NOT JUST PUTTING ON A SHOW AND, YOU KNOW, 578 00:22:30,015 --> 00:22:31,016 PLAYING THIS SONG. 579 00:22:31,016 --> 00:22:33,018 IT'S NOT JUST ABOUT PLAYING THE SONGS. 580 00:22:33,018 --> 00:22:34,019 >> YEAH. 581 00:22:34,019 --> 00:22:35,020 CAN UNDERSTAND THAT? 582 00:22:35,020 --> 00:22:36,021 THAT FEELS FAMILIAR TO YOU? 583 00:22:36,021 --> 00:22:38,023 >> YEAH, THAT FEELS FAMILIAR TO ME. 584 00:22:38,023 --> 00:22:40,025 >> SO TO KIND OF COME BACK FULL CIRCLE, 585 00:22:40,025 --> 00:22:41,994 LAST YEAR NIRVANA WAS INDUCTED INTO THE ROCK 'N' ROLL HALL OF 586 00:22:41,994 --> 00:22:42,995 FAME. 587 00:22:42,995 --> 00:22:44,997 AND KRIST NOVOSELIC AND DAVE GROHL PLAYED, 588 00:22:44,997 --> 00:22:46,999 BUT YOU ALSO WERE PART OF THE BAND. 589 00:22:46,999 --> 00:22:49,001 IT WAS YOU AND ST. VINCENT, JOAN JETT, AND LANA DEL REY. 590 00:22:49,001 --> 00:22:50,002 SEE WHAT I DID THERE? 591 00:22:50,002 --> 00:22:51,003 I KNOW YOU DON'T LIKE HER. 592 00:22:51,003 --> 00:22:52,004 [LAUGHTER]. 593 00:22:52,004 --> 00:22:53,005 >> IT WAS --. 594 00:22:53,005 --> 00:22:55,007 >> YOU'RE TAKING ME OUT OF CONTEXT. 595 00:22:55,007 --> 00:22:56,709 >> I AM, I AM, I AM, SORRY. 596 00:22:56,709 --> 00:22:57,710 AND LORDE. 597 00:22:57,710 --> 00:23:00,179 AND THAT MUST HAVE BEEN -- FOR YOU THAT MUST HAVE BEEN KIND OF 598 00:23:00,179 --> 00:23:02,114 A FUN AND AMAZING THING TO DO. 599 00:23:02,114 --> 00:23:03,115 >> YEAH, IT WAS. 600 00:23:03,115 --> 00:23:05,784 I MEAN, IT WAS KIND OF THRILLING AND SCARY. 601 00:23:08,654 --> 00:23:10,956 YEAH, I DON'T FEEL LIKE I EVER HAVE TO GO TO ONE OF THOSE EVER 602 00:23:10,956 --> 00:23:11,957 AGAIN. 603 00:23:11,957 --> 00:23:12,958 [LAUGHTER]. 604 00:23:12,958 --> 00:23:14,093 >> ON THAT SUBJECT, LET'S --. 605 00:23:14,093 --> 00:23:15,094 >> FIVE HOURS. 606 00:23:15,094 --> 00:23:17,096 >> LET'S SPEAK ABOUT THAT FOR A SECOND. 607 00:23:17,096 --> 00:23:20,366 WHAT ON EARTH IS WRONG WITH THE WORLD THAT SONIC YOUTH IS NOT IN 608 00:23:20,366 --> 00:23:21,367 THE ROCK 'N' ROLL HALL OF FAME? 609 00:23:21,367 --> 00:23:23,435 THIS FEELS LIKE THE SNUB OF SNUBS. 610 00:23:23,435 --> 00:23:24,436 >> WELL, I DON'T KNOW. 611 00:23:24,436 --> 00:23:28,641 I JUST DON'T THINK WE WERE -- SOLD ENOUGH RECORDS. 612 00:23:28,641 --> 00:23:30,676 I MEAN, I DON'T THINK WE'RE THAT POPULAR. 613 00:23:30,676 --> 00:23:31,911 >> REALLY? 614 00:23:31,911 --> 00:23:34,680 SO NSYNC WILL BE IN THE HALL OF FAME HERE AT SOME POINT? 615 00:23:34,680 --> 00:23:36,715 IS THIS ALL ABOUT THAT? 616 00:23:36,715 --> 00:23:37,716 REALLY? 617 00:23:37,716 --> 00:23:38,717 >> I THINK SO. 618 00:23:38,717 --> 00:23:39,718 >> WELL, DOWN WITH THAT. 619 00:23:39,718 --> 00:23:42,221 I, FOR ONE, THINK IT'S GREAT. 620 00:23:42,221 --> 00:23:44,623 YOU DON'T CARE, PARTICULARLY? 621 00:23:44,623 --> 00:23:50,596 >> I MEAN, I -- YOU KNOW, IT'S FLATTERING TO BE NOMINATED. 622 00:23:50,596 --> 00:23:51,597 >> RIGHT. 623 00:23:51,597 --> 00:23:52,598 [LAUGHTER]. 624 00:23:52,598 --> 00:23:53,599 >> RIGHT. 625 00:23:53,599 --> 00:23:58,404 >> BUT, YOU KNOW, THERE'S A LOT OF OLD GUYS THERE AT THIS -- 626 00:23:58,404 --> 00:23:59,571 LIKE REALLY OLD. 627 00:23:59,571 --> 00:24:02,408 AND --. 628 00:24:02,408 --> 00:24:05,144 >> MAYBE WE SHOULD WAIT A WHILE. 629 00:24:05,144 --> 00:24:09,815 >> YOU KNOW, MAYBE IN 20 YEARS WE'LL BE INDUCTED OR SOMETHING. 630 00:24:09,815 --> 00:24:10,816 >> YEAH. 631 00:24:10,816 --> 00:24:11,817 SO WE HAVE ABOUT A MINUTE LEFT. 632 00:24:11,817 --> 00:24:12,818 I WANT TO CLEAR UP SOMETHING. 633 00:24:12,818 --> 00:24:15,487 SO THE BAND BROKE UP IN 2011. 634 00:24:15,487 --> 00:24:16,488 >> UH-HUH. 635 00:24:16,488 --> 00:24:20,159 >> AND THERE WAS A DISCUSSION BY YOUR FORMER HUSBAND THAT THIS 636 00:24:20,159 --> 00:24:21,393 WAS A HIATUS. 637 00:24:21,393 --> 00:24:26,298 HE SAID A COUPLE OF TIMES, OR IT WAS SAID THIS WAS A HIATUS. 638 00:24:26,298 --> 00:24:28,767 I DON'T GET THE SENSE THAT YOU'RE ON HIATUS. 639 00:24:28,767 --> 00:24:29,768 >> NO. 640 00:24:29,768 --> 00:24:31,770 I DON'T KNOW WHEN HE SAID THAT BUT --. 641 00:24:31,770 --> 00:24:33,872 >> IT'S OVER. 642 00:24:33,872 --> 00:24:38,243 >> YEAH, I MEAN, WE DID SOMETHING FOR 30 YEARS. 643 00:24:38,243 --> 00:24:41,580 IT'S GOOD TO MOVE ON AND DO SOMETHING ELSE. 644 00:24:41,580 --> 00:24:42,581 >> YEAH. 645 00:24:42,581 --> 00:24:44,583 YOU DON'T FEEL ANY -- THERE'S NOT GOING TO BE A REUNION SHOW 646 00:24:44,583 --> 00:24:46,585 HERE AT SOME POINT AND WE'RE ALL GOING TO BE SURPRISED. 647 00:24:46,585 --> 00:24:47,586 IT'S DONE. 648 00:24:47,586 --> 00:24:48,554 >> YEAH. 649 00:24:48,554 --> 00:24:50,556 >> SO WHAT WE HAVE OF SONIC YOUTH'S WORK WE SHOULD JUST 650 00:24:50,556 --> 00:24:51,724 ENJOY AND THAT'S IT. 651 00:24:51,724 --> 00:24:54,293 AND YOU'RE ENJOYING THIS NEW WITH BILL NACE, 652 00:24:54,293 --> 00:24:56,295 THE STUFF THAT YOU'RE DOING, AND THE ART STUFF THAT YOU'RE DOING. 653 00:24:56,295 --> 00:24:57,896 THIS IS SATISFYING YOU? 654 00:24:57,896 --> 00:24:58,897 >> OH, YEAH. 655 00:24:58,897 --> 00:25:00,899 >> ANYTHING ELSE YOU'RE DOING COMING UP YOU WANT TO TELL US 656 00:25:00,899 --> 00:25:01,900 ABOUT? 657 00:25:01,900 --> 00:25:04,069 OR IS IT JUST GOING TO BE -- THIS STUFF IS CERTAINLY PLENTY? 658 00:25:04,069 --> 00:25:05,571 >> YEAH, I DON'T KNOW. 659 00:25:05,571 --> 00:25:08,707 DOING SOME MOVIE SCORING OR A MOVIE. 660 00:25:08,707 --> 00:25:09,808 >> WELL, THAT'S PRETTY FUN. 661 00:25:09,808 --> 00:25:11,110 DONE THAT BEFORE? 662 00:25:11,110 --> 00:25:12,111 >> YEAH. 663 00:25:12,111 --> 00:25:13,112 SOMEWHAT. 664 00:25:13,112 --> 00:25:15,914 I MEAN, NEVER ON MY OWN BUT THE BAND DID SOME. 665 00:25:15,914 --> 00:25:16,915 >> GREAT. 666 00:25:16,915 --> 00:25:17,916 WELL, CONGRATULATIONS ON THIS. 667 00:25:17,916 --> 00:25:20,586 THIS IS -- I CAN'T IMAGINE THAT THIS BOOK IS NOT GOING TO BE A 668 00:25:20,586 --> 00:25:21,553 BESTSELLER. 669 00:25:21,553 --> 00:25:23,555 AND, IN ANY CASE, IT'S WONDERFUL TO GET A LITTLE BIT MORE INSIGHT 670 00:25:23,555 --> 00:25:25,557 INTO WHAT WE'VE WATCHED FROM A DISTANCE ALL THESE YEARS. 671 00:25:25,557 --> 00:25:26,558 >> THANKS. 672 00:25:26,558 --> 00:25:28,560 >> SO KIM GORDON, THANK YOU SO MUCH. 673 00:25:28,560 --> 00:25:31,096 >> THANKS FOR HAVING ME. 674 00:25:31,096 --> 00:25:32,097 [APPLAUSE]. 675 00:25:32,097 --> 00:25:35,434 >> WE'D LOVE TO HAVE YOU JOIN US IN THE STUDIO. 676 00:25:35,434 --> 00:25:37,970 VISIT OUR WEBSITE AT KLRU.ORG/OVERHEARD TO FIND 677 00:25:37,970 --> 00:25:41,073 INVITATIONS TO INTERVIEWS, Q&AS WITH OUR AUDIENCE AND GUESTS, 678 00:25:41,073 --> 00:25:44,209 AND AN ARCHIVE OF PAST EPISODES. 679 00:25:44,209 --> 00:25:46,211 >> THE NO WAVE BANDS WERE INSPIRING, 680 00:25:46,211 --> 00:25:49,915 LIKE DNA AND MARS AND ALAN VEGA IN SUICIDE, 681 00:25:49,915 --> 00:25:54,453 BECAUSE HE WAS SO CONFRONTATIONAL AND KIND OF 682 00:25:54,453 --> 00:25:55,788 SCARY WITH THE AUDIENCE. 683 00:25:55,788 --> 00:25:56,789 >> YEP. 684 00:25:56,789 --> 00:26:02,795 >> AND THEN, YOU KNOW, EARLIER THINGS LIKE THE YARDBIRDS. 685 00:26:11,537 --> 00:26:14,807 >> FUNDING FOR "OVERHEARD" WITH EVAN SMITH IS PROVIDED IN PART 686 00:26:14,807 --> 00:26:20,813 BY M.F.I. 687 00:26:42,434 --> 00:26:44,436 FOUNDATION, IMPROVING THE QUALITY OF LIFE WITHIN OUR 688 00:26:44,436 --> 00:26:45,437 COMMUNITY. 689 00:26:45,437 --> 00:26:47,439 AND FROM THE TEXAS BOARD OF LEGAL SPECIALIZATION, 690 00:26:47,439 --> 00:26:49,441 BOARD CERTIFIED ATTORNEYS IN YOUR COMMUNITY. 691 00:26:49,441 --> 00:26:51,443 EXPERIENCED, RESPECTED, AND TESTED. 692 00:26:51,443 --> 00:26:53,445 ALSO BY HILLCO PARTNERS, TEXAS GOVERNMENT AFFAIRS CONSULTANCY 693 00:26:53,445 --> 00:26:55,447 AND ITS GLOBAL HEALTH CARE CONSULTING BUSINESS UNIT, 694 00:26:55,447 --> 00:26:56,415 HILLCO HEALTH. 695 00:26:56,415 --> 00:26:58,417 AND BY THE ALICE KLEBERG REYNOLDS FOUNDATION. 696 00:26:58,417 --> 00:26:59,418 AND VIEWERS LIKE YOU. 697 00:26:59,418 --> 00:27:01,420 THANK YOU.