1 00:00:01,802 --> 00:00:03,904 >> FUNDING FOR OVERHEARD WITH 2 00:00:03,904 --> 00:00:05,105 EVAN SMITH IS PROVIDED IN PART 3 00:00:05,105 --> 00:00:09,109 BY MFI FOUNDATION, IMPROVING THE 4 00:00:09,109 --> 00:00:10,310 QUALITY OF LIFE WITHIN OUR 5 00:00:10,310 --> 00:00:11,912 COMMUNITY, AND FROM THE TEXAS 6 00:00:11,912 --> 00:00:13,714 BOARD OF LEGAL SPECIALIZATION, 7 00:00:13,714 --> 00:00:15,215 BOARD CERTIFIED ATTORNEYS IN 8 00:00:15,215 --> 00:00:17,818 YOUR COMMUNITY, EXPERIENCED, 9 00:00:17,818 --> 00:00:19,519 RESPECTED AND TESTED. 10 00:00:19,519 --> 00:00:21,922 ALSO BY HILLCO PARTNERS, TEXAS 11 00:00:21,922 --> 00:00:24,524 GOVERNMENT AFFAIRS CONSULTANCY, 12 00:00:24,524 --> 00:00:26,627 AND ITS GLOBAL HEALTH CARE 13 00:00:26,627 --> 00:00:28,328 CONSULTING BUSINESS UNIT, HILLCO 14 00:00:28,328 --> 00:00:29,129 HEALTH. 15 00:00:29,129 --> 00:00:33,433 AND BY THE THE ALICE KLEBERG 16 00:00:33,433 --> 00:00:35,769 REYNOLDS FOUNDATION AND VIEWERS 17 00:00:35,769 --> 00:00:36,370 LIKE YOU. 18 00:00:36,370 --> 00:00:38,972 >> I'M EVAN SMITH. HUSBAND AND 19 00:00:38,972 --> 00:00:42,876 WIFE, 20 00:00:42,876 --> 00:00:44,578 THIRTEENTH STUDIO ALBUM, FADE, 21 00:00:44,578 --> 00:00:46,179 WAS RELEASED LAST YEAR. 22 00:00:46,179 --> 00:00:49,483 THEY'RE IRA KAPLAN AND GEORGIA 23 00:00:49,483 --> 00:00:50,684 HUBLEY, THIS IS OVERHEARD. 24 00:00:50,684 --> 00:00:52,786 >> ACTUALLY, THERE'S NOT TWO 25 00:00:52,786 --> 00:00:54,087 SIDES TO EVERY ISSUE. 26 00:00:54,087 --> 00:00:55,589 >> I GUESS WE CAN'T FIRE HIM 27 00:00:55,589 --> 00:00:55,789 NOW. 28 00:00:55,789 --> 00:00:57,090 >> I GUESS WE CAN'T FIRE HIM 29 00:00:57,090 --> 00:00:57,391 NOW. 30 00:00:57,391 --> 00:00:58,992 THE NIGHT THEY WIN AN EMMY. 31 00:00:58,992 --> 00:01:00,594 >> BEING ON THE SUPREME COURT 32 00:01:00,594 --> 00:01:02,496 WAS AN IMPROBABLE DREAM. 33 00:01:02,496 --> 00:01:03,797 IT'S HARD WORK AND IT'S 34 00:01:03,797 --> 00:01:04,798 CONTROVERSIAL. 35 00:01:04,798 --> 00:01:06,400 >> WITHOUT INFORMATION, THERE IS 36 00:01:06,400 --> 00:01:08,802 NO FREEDOM, AND IT'S JOURNALISTS 37 00:01:08,802 --> 00:01:09,603 WHO PROVIDE THAT INFORMATION. 38 00:01:09,603 --> 00:01:11,204 >> WINDOW ROLLS DOWNED AND THIS 39 00:01:11,204 --> 00:01:19,613 GUY SAYS, HEY, HE GOES UNTIL 11. 40 00:01:19,613 --> 00:01:21,515 [ LAUGHTER ] 41 00:01:21,515 --> 00:01:26,520 >> IRA, GEORGIA, WELCOME. 42 00:01:26,520 --> 00:01:27,421 NICE TO SEE YOU BOTH. 43 00:01:27,421 --> 00:01:28,221 >> THANK YOU. 44 00:01:28,221 --> 00:01:30,223 >> DECEMBER OF THIS YEAR IS 30 45 00:01:30,223 --> 00:01:31,925 YEARS SINCE THE BAND -- 46 00:01:31,925 --> 00:01:33,427 >> YEAH. HOW IS THAT POSSIBLE? 47 00:01:33,427 --> 00:01:34,661 YOU LOOK THE SAME AGE. 48 00:01:34,661 --> 00:01:36,663 I USED TO SEE YOU WHEN I WAS AT 49 00:01:36,663 --> 00:01:36,964 COLLEGE. 50 00:01:36,964 --> 00:01:38,465 YOU SEEM EXACTLY THE SAME. 51 00:01:38,465 --> 00:01:41,468 IT CANNOT BE 30 YEARS. 52 00:01:41,468 --> 00:01:42,669 >> WELL, THAT'S ONE OF THE 53 00:01:42,669 --> 00:01:44,571 ADVANTAGES OF NEVER GOING AWAY 54 00:01:44,571 --> 00:01:46,073 IS BECAUSE WE CHANGE SLOWLY. 55 00:01:46,073 --> 00:01:47,874 IF YOU LOOK AT THE PICTURE FROM 56 00:01:47,874 --> 00:01:49,476 30 YEARS AGO... 57 00:01:49,476 --> 00:01:50,777 >> I WOULD SEE DIFFERENCES? 58 00:01:50,777 --> 00:01:53,580 >> LIKE THE FROG AND THE FRYING 59 00:01:53,580 --> 00:01:53,680 PAN. 60 00:01:53,680 --> 00:01:54,381 >> EXACTLY. 61 00:01:54,381 --> 00:01:55,983 >> DOES IT FEEL TO YOU LIKE 30 62 00:01:55,983 --> 00:01:58,085 YEARS ON THE ROAD, 30 YEARS OF 63 00:01:58,085 --> 00:01:59,386 MAKING RECORDS? 64 00:01:59,386 --> 00:02:00,287 IT GOES BY FAST. 65 00:02:00,287 --> 00:02:01,488 >> IT GOES BY FAST. 66 00:02:01,488 --> 00:02:02,689 BUT YOU START TO GET TO THAT 67 00:02:02,689 --> 00:02:03,991 POINT WHERE YOU HAVE A HARD TIME 68 00:02:03,991 --> 00:02:05,993 REMEMBERING THINGS AS YOU GO 69 00:02:05,993 --> 00:02:06,393 BACK. 70 00:02:06,393 --> 00:02:07,894 YOU KNOW, I CAN REMEMBER THINGS 71 00:02:07,894 --> 00:02:09,997 IN THE LAST FIVE YEARS, BUT 72 00:02:09,997 --> 00:02:11,098 THEN -- 73 00:02:11,098 --> 00:02:12,399 >> IF I ASKED YOU TO PLUCK OUT 74 00:02:12,399 --> 00:02:14,101 SOME STORY OR SOME MEMORY FROM 75 00:02:14,101 --> 00:02:15,902 1987, THAT'S PROBABLY NOT A GOOD 76 00:02:15,902 --> 00:02:16,403 STRATEGY? 77 00:02:16,403 --> 00:02:18,005 >> WELL, I'VE BEEN DOING THAT, 78 00:02:18,005 --> 00:02:18,605 ACTUALLY. 79 00:02:18,605 --> 00:02:20,307 I MEAN, I TOOK IT UPON MYSELF 80 00:02:20,307 --> 00:02:22,109 TO -- ON OUR WEBSITE TO POST A 81 00:02:22,109 --> 00:02:25,212 STORY FROM EVERY DAY OF THIS 82 00:02:25,212 --> 00:02:27,914 YEAR, LEADING UP TO -- SO SOME 83 00:02:27,914 --> 00:02:29,616 OF THEM DO GO BACK TO THE VERY 84 00:02:29,616 --> 00:02:32,119 BEGINNING, THOSE THAT ARE -- 85 00:02:32,119 --> 00:02:35,656 KIND OF BE MORE CAUTIONARY 86 00:02:35,656 --> 00:02:35,956 TALES. 87 00:02:35,956 --> 00:02:38,458 >> AND OF INTEREST TO THE FANS. 88 00:02:38,458 --> 00:02:39,359 >> HOPEFULLY. 89 00:02:39,359 --> 00:02:40,861 >> I NOTICED, FOR INSTANCE, THIS 90 00:02:40,861 --> 00:02:43,163 WEEK YOU REMARKED ON THE RELEASE 91 00:02:43,163 --> 00:02:45,766 OF AUTUMN SWEATER WAS 17 YEARS 92 00:02:45,766 --> 00:02:46,466 AGO TO THE DAY. 93 00:02:46,466 --> 00:02:49,970 >> NOT NORMALLY THAT 94 00:02:49,970 --> 00:02:54,675 INFORMATIVE, TODAY'S WAS JUST 95 00:02:54,675 --> 00:02:57,577 PLAYING ON THE FIRST DAY OF 96 00:02:57,577 --> 00:02:58,078 PASSOVER. 97 00:02:58,078 --> 00:02:59,579 >> SO MUCH OF THE WORLD HAS 98 00:02:59,579 --> 00:03:01,081 CHANGED, SO MUCH ABOUT THE MUSIC 99 00:03:01,081 --> 00:03:02,382 BUSINESS HAS CHANGED, YOU WERE 100 00:03:02,382 --> 00:03:03,884 ALWAYS, AND STRIKE ME STILL, AS 101 00:03:03,884 --> 00:03:05,786 DIY PEOPLE. YOU KIND OF TAKE 102 00:03:05,786 --> 00:03:07,287 CARE OF YOURSELVES, YOU THINK 103 00:03:07,287 --> 00:03:09,289 ABOUT YOUR MUSIC, YOUR BUSINESS, 104 00:03:09,289 --> 00:03:10,691 YOURSELVES, BUT THE WHOLE 105 00:03:10,691 --> 00:03:12,292 CONCEPT OF LABELS AND THE WHOLE 106 00:03:12,292 --> 00:03:14,694 CONCEPT OF DISTRIBUTION AND 107 00:03:14,694 --> 00:03:16,697 EVERYTHING HAS KIND OF BLOWN UP 108 00:03:16,697 --> 00:03:17,397 AND REBUILT. 109 00:03:17,397 --> 00:03:22,602 HOW HAS THAT IMPACTED YOUR LIVES 110 00:03:22,602 --> 00:03:24,704 AS MUSICIANS, IF AT ALL? 111 00:03:24,704 --> 00:03:26,807 >> I'M NEVER SURE HOW TO ANSWER 112 00:03:26,807 --> 00:03:27,307 THAT QUESTION. 113 00:03:27,307 --> 00:03:29,509 WE ARE SO SELF-CONTAINED I DON'T 114 00:03:29,509 --> 00:03:31,311 FEEL -- THERE'S BEEN TIMES I'VE 115 00:03:31,311 --> 00:03:33,513 ARGUED WHERE WE'RE NOT EVEN IN 116 00:03:33,513 --> 00:03:34,748 THE MUSIC BUSINESS. 117 00:03:34,748 --> 00:03:35,348 >> EXPLAIN. 118 00:03:35,348 --> 00:03:36,950 >> WELL, WE HAVE THE ADVANTAGE 119 00:03:36,950 --> 00:03:37,851 AND THE OPPORTUNITY TO PLAY FOR 120 00:03:37,851 --> 00:03:40,754 EACH OTHER, AND LUCKILY, THERE'S 121 00:03:40,754 --> 00:03:44,558 AN AUDIENCE OUT THERE, A 122 00:03:44,558 --> 00:03:47,761 PETITION AUDIENCE, BUT WE DON'T 123 00:03:47,761 --> 00:03:49,563 SPEND A LOT OF TIME STRATEGIZING 124 00:03:49,563 --> 00:03:53,266 OVER MP3S VERSUS DOWNLOAD VERSUS 125 00:03:53,266 --> 00:03:53,867 VINYL. 126 00:03:53,867 --> 00:03:55,168 WE JUST KIND OF -- IT'S ONE OF 127 00:03:55,168 --> 00:03:56,470 THE PLEASURES OF BEING 128 00:03:56,470 --> 00:03:58,572 ASSOCIATED WITH MATADOR 129 00:03:58,572 --> 00:04:05,979 RECORDS, WHO WE'VE BEEN WITH FOR 130 00:04:05,979 --> 00:04:06,780 OVER 20 YEARS. 131 00:04:06,780 --> 00:04:08,181 WE LIKE THEM AS FRIENDS, WE 132 00:04:08,181 --> 00:04:09,783 RESPECT THEM AS LISTENERS, AND 133 00:04:09,783 --> 00:04:11,685 WE GET TO MAKE MUSIC AND WRITE 134 00:04:11,685 --> 00:04:12,986 SONGS, AND THEY GET TO THINK 135 00:04:12,986 --> 00:04:14,187 ABOUT THE MUSIC BUSINESS. 136 00:04:14,187 --> 00:04:15,789 >> GEORGE, I'M INTERESTED IN YOU 137 00:04:15,789 --> 00:04:19,192 SAYING ABOUT IRA SAID YOU PLAY 138 00:04:19,192 --> 00:04:19,893 FOR EACH OTHER. 139 00:04:19,893 --> 00:04:21,294 WE THOUGHT IT WAS ABOUT US. 140 00:04:21,294 --> 00:04:23,296 I'M SLIGHTLY UPSET ABOUT THAT. 141 00:04:23,296 --> 00:04:24,598 >> THIS IS WHERE THE ARGUMENT 142 00:04:24,598 --> 00:04:26,399 COMES IN. 143 00:04:26,399 --> 00:04:28,201 >> SO DISAGREE. 144 00:04:28,201 --> 00:04:28,702 GO AHEAD. 145 00:04:28,702 --> 00:04:29,903 >> THAT'S CRAZY. 146 00:04:29,903 --> 00:04:31,404 >> DO YOU THINK OF IT AS MORE OF 147 00:04:31,404 --> 00:04:33,707 A PERSONAL THING, AND IT JUST 148 00:04:33,707 --> 00:04:34,741 HAPPENS TO BE THAT WE'RE 149 00:04:34,741 --> 00:04:36,643 WITNESSING IT OR OVERHEARING IT? 150 00:04:36,643 --> 00:04:38,445 >> I THINK IT'S THE -- YOU KNOW, 151 00:04:38,445 --> 00:04:40,046 THE SUCCESS, SUCH AS IT IS, THAT 152 00:04:40,046 --> 00:04:42,048 THIS BAND HAS HAD, HOWEVER YOU 153 00:04:42,048 --> 00:04:44,351 DESCRIBE THAT -- 154 00:04:44,351 --> 00:04:44,951 >> YEAH. 155 00:04:44,951 --> 00:04:47,154 >> -- I THINK IS, WE DO 156 00:04:47,154 --> 00:04:48,555 BASICALLY FOLLOW WHAT WE WANT TO 157 00:04:48,555 --> 00:04:49,756 DO AND FOLLOW THE KIND OF -- YOU 158 00:04:49,756 --> 00:04:52,359 KNOW, INSTINCTIVELY WHAT WE WANT 159 00:04:52,359 --> 00:04:54,461 TO PLAY MUSICALLY, AND WHEN 160 00:04:54,461 --> 00:04:55,862 PEOPLE RESPOND, IT'S GREAT. 161 00:04:55,862 --> 00:04:58,365 BUT WE STILL KIND OF BASICALLY 162 00:04:58,365 --> 00:05:00,567 DO WHAT WE WANT AND WHAT WE 163 00:05:00,567 --> 00:05:02,269 RESPOND TO AS, YOU KNOW, NOT 164 00:05:02,269 --> 00:05:03,970 JUST THE TWO OF US, BUT THE 165 00:05:03,970 --> 00:05:05,872 THREE OF US, AND -- 166 00:05:05,872 --> 00:05:07,073 >> RIGHT. 167 00:05:07,073 --> 00:05:10,177 >> -- I'M SURE WE'VE ALIENATED 168 00:05:10,177 --> 00:05:11,478 PEOPLE ALONG THE WAY, BUT I 169 00:05:11,478 --> 00:05:13,180 THINK WE'VE APPEALED TO PEOPLE, 170 00:05:13,180 --> 00:05:13,580 TOO. 171 00:05:13,580 --> 00:05:15,282 >> HAS THERE BEEN PRESSURE ON 172 00:05:15,282 --> 00:05:18,985 YOU, GEORGIA, OR YOU, IRA, TO 173 00:05:18,985 --> 00:05:20,387 CHANGE WHAT YOU WERE DOING AT 174 00:05:20,387 --> 00:05:22,189 THE TIME OR TO SOMEHOW BE MORE 175 00:05:22,189 --> 00:05:23,190 COMMERCIAL? 176 00:05:23,190 --> 00:05:26,193 THAT'S THE WORD THAT GETS THROWN 177 00:05:26,193 --> 00:05:26,493 AROUND. 178 00:05:26,493 --> 00:05:28,495 >> I WOULDN'T SAY THAT SO MUCH. 179 00:05:28,495 --> 00:05:30,297 BUT GOING BACK AS FAR AS 1990, 180 00:05:30,297 --> 00:05:32,199 WE MADE OUR RECORD IN 1989 181 00:05:32,199 --> 00:05:34,134 CALLED PRESIDENT YO LA TENGO, 182 00:05:34,134 --> 00:05:35,535 AND IT WAS THE FIRST RECORD 183 00:05:35,535 --> 00:05:39,439 WHICH HAD AN EXTENDED NOISY 184 00:05:39,439 --> 00:05:41,341 GUITAR THING, AND IT GOT MORE 185 00:05:41,341 --> 00:05:42,742 ATTENTION THAN ANYTHING WE'D 186 00:05:42,742 --> 00:05:43,243 DONE BEFORE. 187 00:05:43,243 --> 00:05:45,345 AND SIX MONTHS LATER, WE HAD NO 188 00:05:45,345 --> 00:05:46,746 BASE PLAYER AGAIN, WHICH WAS 189 00:05:46,746 --> 00:05:49,049 KIND OF A RUNNING THEME OF OUR 190 00:05:49,049 --> 00:05:51,852 EARLY YEARS, UNTIL WE MET JAMES. 191 00:05:51,852 --> 00:05:54,955 SO WE MADE -- WE DECIDED TO MAKE 192 00:05:54,955 --> 00:05:58,258 A FOLKY COVERS RECORD. 193 00:05:58,258 --> 00:05:58,658 >> RIGHT. 194 00:05:58,658 --> 00:06:00,160 >> AND THE GUY WHO OWNED 195 00:06:00,160 --> 00:06:02,162 MAXWELL'S, AND WORKED VERY 196 00:06:02,162 --> 00:06:03,563 CLOSELY TO US, THOUGHT WE WERE 197 00:06:03,563 --> 00:06:04,264 CRAZY. 198 00:06:04,264 --> 00:06:06,066 HE SAID, PEOPLE FINALLY KNOW YOU 199 00:06:06,066 --> 00:06:07,968 A LITTLE BIT, KNOW WHAT TO 200 00:06:07,968 --> 00:06:09,069 EXPECT FROM THE BAND, AND YOU'RE 201 00:06:09,069 --> 00:06:10,670 DOING SOMETHING COMPLETELY 202 00:06:10,670 --> 00:06:10,870 DIFFERENT. 203 00:06:10,870 --> 00:06:11,271 >> RIGHT. 204 00:06:11,271 --> 00:06:12,973 >> AND WE WEREN'T DOING IT TO BE 205 00:06:12,973 --> 00:06:13,273 DIFFERENT. 206 00:06:13,273 --> 00:06:15,075 WE WEREN'T LIKE, OH, WE'LL MESS 207 00:06:15,075 --> 00:06:15,775 WITH THEM NOW. 208 00:06:15,775 --> 00:06:17,277 IT JUST SEEMED LIKE, WELL, 209 00:06:17,277 --> 00:06:19,079 WE'VE -- THERE'S ONLY THE TWO OF 210 00:06:19,079 --> 00:06:19,379 US -- 211 00:06:19,379 --> 00:06:20,380 >> LET'S JUST DO THIS? 212 00:06:20,380 --> 00:06:21,681 >> -- LET'S DO THIS. 213 00:06:21,681 --> 00:06:22,082 >> RIGHT. 214 00:06:22,082 --> 00:06:24,084 >> AND IT TURNED OUT TO BE OUR 215 00:06:24,084 --> 00:06:27,387 RECORD FAKEBOOK, WHICH IS -- FAR 216 00:06:27,387 --> 00:06:28,888 AND AWAY GOT US THE MOST 217 00:06:28,888 --> 00:06:31,291 ATTENTION WE HAD GOT AT THAT 218 00:06:31,291 --> 00:06:31,491 MOMENT. 219 00:06:31,491 --> 00:06:31,791 >> YEAH. 220 00:06:31,791 --> 00:06:33,493 >> AND I THINK IT HELPED CEMENT 221 00:06:33,493 --> 00:06:34,728 THE NOTION THAT JUST LISTEN TO 222 00:06:34,728 --> 00:06:37,030 WHATEVER FEELS RIGHT. 223 00:06:37,030 --> 00:06:37,530 >> YEAH. 224 00:06:37,530 --> 00:06:38,431 >> NO MATTER -- 225 00:06:38,431 --> 00:06:40,634 >> IT'S ALWAYS SO HEARTENING TO 226 00:06:40,634 --> 00:06:42,035 HEAR ONE OF THE THINGS THAT YOU 227 00:06:42,035 --> 00:06:44,237 WANTED TO DO, OR I'M GOING TO DO 228 00:06:44,237 --> 00:06:45,138 THIS DESPITE WHAT THE 229 00:06:45,138 --> 00:06:46,539 CONSEQUENCES ARE, AND THE 230 00:06:46,539 --> 00:06:47,841 CONSEQUENCES ARE GOOD. 231 00:06:47,841 --> 00:06:48,742 IT'S A NICE THING. 232 00:06:48,742 --> 00:06:49,142 >> YEAH. 233 00:06:49,142 --> 00:06:50,944 >> IT HAS INTEGRITY 234 00:06:50,944 --> 00:06:52,345 ARTISTICALLY. 235 00:06:52,345 --> 00:06:54,848 >> IT GIVES YOU THE STRENGTH AND 236 00:06:54,848 --> 00:06:56,149 THE CONFIDENCE, WELL, THAT KIND 237 00:06:56,149 --> 00:06:56,950 OF WORKED. 238 00:06:56,950 --> 00:06:58,451 LET'S TRY THAT AND LET'S FOLLOW 239 00:06:58,451 --> 00:06:59,252 OUR INSTINCTS. 240 00:06:59,252 --> 00:07:03,156 >> NOW, IRA SAYS YOU DON'T CARE 241 00:07:03,156 --> 00:07:07,360 ABOUT MP3, AND I GET THAT, AND I 242 00:07:07,360 --> 00:07:08,762 I BELIEVE THAT. BUT IN REALITY, 243 00:07:08,762 --> 00:07:10,964 TECHNOLOGY HAS BECOME WHAT 244 00:07:10,964 --> 00:07:13,366 CONTROLS ALL DISTRIBUTION OF 245 00:07:13,366 --> 00:07:15,869 MUSIC, SO ACCESS TO MUSIC IS 246 00:07:15,869 --> 00:07:18,071 GREATER OR PERVASIVE THAN IT'S 247 00:07:18,071 --> 00:07:18,672 EVER BEEN. 248 00:07:18,672 --> 00:07:20,373 ARE YOU OF THE SORT, GEORGIA, OF 249 00:07:20,373 --> 00:07:21,675 PEOPLE GETTING ACCESS TO YOUR 250 00:07:21,675 --> 00:07:23,276 MUSIC FOR FREE OR THE SERVICES 251 00:07:23,276 --> 00:07:24,778 THAT STREAM YOUR MUSIC, WE DON'T 252 00:07:24,778 --> 00:07:26,279 LIKE THOSE GUYS, THEY'RE JUST 253 00:07:26,279 --> 00:07:28,682 TRYING TO RIP US OFF? WHAT'S 254 00:07:28,682 --> 00:07:30,684 YOUR DISTRIBUTION TOWARDS THAT? 255 00:07:30,684 --> 00:07:34,387 >> WELL, IT'S TRICKY, BECAUSE 256 00:07:34,387 --> 00:07:35,789 YOU WANT TO MAKE A LIVING DOING 257 00:07:35,789 --> 00:07:39,793 THIS. IT WOULD BE NICE IF 258 00:07:39,793 --> 00:07:40,994 PEOPLE ACTUALLY BOUGHT THE 259 00:07:40,994 --> 00:07:41,294 MUSIC. 260 00:07:41,294 --> 00:07:43,296 >> THAT'S THE THEORY, ANYWAY. 261 00:07:43,296 --> 00:07:44,497 >> BUT ON THE OTHER HAND, 262 00:07:44,497 --> 00:07:47,801 THERE'S KIND OF NOTHING YOU CAN 263 00:07:47,801 --> 00:07:48,501 DO ABOUT IT. 264 00:07:48,501 --> 00:07:49,502 I HATE TO SAY THAT. 265 00:07:49,502 --> 00:07:51,104 IT'S A FINE LINE OF ACCEPTING 266 00:07:51,104 --> 00:07:52,505 THINGS THAT YOU CAN'T REALLY 267 00:07:52,505 --> 00:07:53,506 CONTROL AND KIND OF WHAT THE 268 00:07:53,506 --> 00:07:54,507 OTHER SIDE IS. 269 00:07:54,507 --> 00:07:54,908 >> RIGHT. 270 00:07:54,908 --> 00:07:57,310 YOU FEEL POWERLESS, TO BOW 271 00:07:57,310 --> 00:08:00,914 BEFORE THE GODS OF... 272 00:08:00,914 --> 00:08:02,615 >> I JUST DON'T -- WE'RE PRETTY 273 00:08:02,615 --> 00:08:05,518 SUCCESSFUL NOT THINKING ABOUT 274 00:08:05,518 --> 00:08:05,819 IT. 275 00:08:05,819 --> 00:08:06,319 IT'S JUST -- 276 00:08:06,319 --> 00:08:07,821 >> I WISH YOU COULD TEACH THAT. 277 00:08:07,821 --> 00:08:08,521 THAT'S AWESOME. 278 00:08:08,521 --> 00:08:09,723 >> YOU KNOW, WHAT ARE YOU GOING 279 00:08:09,723 --> 00:08:10,223 TO DO? 280 00:08:10,223 --> 00:08:14,027 AND SO, YOU KNOW, IT JUST -- I 281 00:08:14,027 --> 00:08:15,929 MEAN, I THINK LONG AGO, ANOTHER 282 00:08:15,929 --> 00:08:18,131 THING WE JUST -- ONE OF THE 283 00:08:18,131 --> 00:08:21,034 THINGS I LOOKED AT FROM OTHER 284 00:08:21,034 --> 00:08:22,335 BANDS IS I JUST SAW PEOPLE 285 00:08:22,335 --> 00:08:27,040 GETTING BITTER ABOUT ANYTHING. 286 00:08:27,040 --> 00:08:28,341 IT COULD BE ABOUT NOBODY'S 287 00:08:28,341 --> 00:08:29,843 BUYING MY RECORDS NOW, OR IT 288 00:08:29,843 --> 00:08:31,244 COULD BE ABOUT, YOU KNOW, WE'RE 289 00:08:31,244 --> 00:08:32,946 NOT AS SUCCESSFUL AS THIS OTHER 290 00:08:32,946 --> 00:08:34,781 BAND WHO IS SO MUCH WORSE THAN 291 00:08:34,781 --> 00:08:35,081 US. 292 00:08:35,081 --> 00:08:37,183 AND IT JUST SEEMED TO BE 293 00:08:37,183 --> 00:08:39,986 DERAILING THEIR CREATIVITY. 294 00:08:39,986 --> 00:08:41,388 AND WE JUST TRIED TO -- 295 00:08:41,388 --> 00:08:41,988 >> RIGHT. 296 00:08:41,988 --> 00:08:43,790 >> -- NOT -- I MEAN, THERE'S 297 00:08:43,790 --> 00:08:47,293 ALWAYS GREAT THINGS HAPPENING, 298 00:08:47,293 --> 00:08:49,796 AND IT -- TO THE POINT THAT EVEN 299 00:08:49,796 --> 00:08:51,097 YOU SAY TO GET THE POSITIVE 300 00:08:51,097 --> 00:08:52,999 REINFORCEMENT OF IT, WORKING 301 00:08:52,999 --> 00:08:55,201 WITH FAKEBOOK, BUT I THINK WE 302 00:08:55,201 --> 00:08:56,803 TAKE ALMOST AS MUCH PLEASURE 303 00:08:56,803 --> 00:08:58,505 WHEN IT DOESN'T WORK, AND WE 304 00:08:58,505 --> 00:08:59,906 KNOW WE DID WHAT WE WANTED, 305 00:08:59,906 --> 00:09:00,507 AND -- 306 00:09:00,507 --> 00:09:03,209 >> NOT A FORM OF MASOCHISM, IT'S 307 00:09:03,209 --> 00:09:04,811 JUST WE KNOW WHO WE ARE, AND 308 00:09:04,811 --> 00:09:05,311 THAT'S IT. 309 00:09:05,311 --> 00:09:06,012 >> YEAH. 310 00:09:06,012 --> 00:09:06,613 IT'S GREAT. 311 00:09:06,613 --> 00:09:08,114 WE'RE VERY HAPPY WHEN PEOPLE 312 00:09:08,114 --> 00:09:10,016 ENJOY WHAT WE DO, BUT IF WE DO 313 00:09:10,016 --> 00:09:10,817 SOMETHING THAT -- 314 00:09:10,817 --> 00:09:11,217 >> YEAH. 315 00:09:11,217 --> 00:09:12,619 >> AND THEN IF YOU DON'T -- IF 316 00:09:12,619 --> 00:09:15,422 YOU CAN REALIZE THAT IT -- YOU 317 00:09:15,422 --> 00:09:16,923 KNOW, IT'S NOT A CRIPPLING 318 00:09:16,923 --> 00:09:18,525 EVENT, YOU CAN MOVE ON FROM 319 00:09:18,525 --> 00:09:19,526 WHATEVER -- 320 00:09:19,526 --> 00:09:21,628 >> AND IT MAKES YOU LESS FREAKED 321 00:09:21,628 --> 00:09:22,929 OUT ABOUT IT THE NEXT TIME? 322 00:09:22,929 --> 00:09:23,430 >> YEAH. 323 00:09:23,430 --> 00:09:24,130 HOPEFULLY. 324 00:09:24,130 --> 00:09:24,431 YEAH. 325 00:09:24,431 --> 00:09:26,132 >> YOU MENTIONED MAXWELL'S, FOR 326 00:09:26,132 --> 00:09:27,734 THE AUDIENCE OUT IN THE WORLD 327 00:09:27,734 --> 00:09:30,537 NOT IN HOBOKEN OR NOT IN NEW 328 00:09:30,537 --> 00:09:33,239 YORK, MAXWELL'S WAS A FANTASTIC 329 00:09:33,239 --> 00:09:35,675 CLUB IN HOBOKEN, NEW JERSEY. I 330 00:09:35,675 --> 00:09:36,976 DON'T KNOW HOW MANY TIMES I TOOK 331 00:09:36,976 --> 00:09:39,179 THE TRAIN OVER FROM NEW YORK 332 00:09:39,179 --> 00:09:40,280 WHEN I WAS A MUCH YOUNGER 333 00:09:40,280 --> 00:09:41,881 VERSION OF MYSELF TO SEE YOU ALL 334 00:09:41,881 --> 00:09:44,784 AND OTHER PEOPLE PLAY AT 335 00:09:44,784 --> 00:09:46,586 MAXWELL'S, AND IT WAS KIND OF 336 00:09:46,586 --> 00:09:47,187 YOUR HOME BASE. 337 00:09:47,187 --> 00:09:48,888 WHAT'S HAPPENED OVER THE 30 338 00:09:48,888 --> 00:09:50,590 YEARS IS THAT THE WHOLE CLUB 339 00:09:50,590 --> 00:09:54,294 SCENE, BOTH IF -- THE LOCUS OF 340 00:09:54,294 --> 00:09:55,995 CLUBS AND THE EXISTENCE OF CLUBS 341 00:09:55,995 --> 00:09:57,597 THAT WERE PROBABLY PART OF YOUR 342 00:09:57,597 --> 00:09:58,698 LIVES FOREVER AND FOREVER, 343 00:09:58,698 --> 00:10:00,200 THAT'S CHANGED. 344 00:10:00,200 --> 00:10:01,100 SO TALK ABOUT THAT. 345 00:10:01,100 --> 00:10:02,802 ALL THE OLD HAUNTS AREN'T 346 00:10:02,802 --> 00:10:04,103 NECESSARILY AROUND ANYMORE. 347 00:10:04,103 --> 00:10:05,805 DO YOU FIND NEW PLACES? 348 00:10:05,805 --> 00:10:08,508 >> WELL, I MEAN, TO AN EXTENT. 349 00:10:08,508 --> 00:10:09,809 CERTAINLY FOR US, THAT'S THE 350 00:10:09,809 --> 00:10:10,009 CASE. 351 00:10:10,009 --> 00:10:11,911 MAXWELL'S WAS A PLACE THAT I DID 352 00:10:11,911 --> 00:10:12,112 SOUND. 353 00:10:12,112 --> 00:10:14,514 >> YOU WENT BACK PRE-YO LA 354 00:10:14,514 --> 00:10:14,814 TENGO. 355 00:10:14,814 --> 00:10:15,615 >> OH, YEAH. 356 00:10:15,615 --> 00:10:17,317 WE BOTH DID. 357 00:10:17,317 --> 00:10:19,719 GEORGIA WAS A DJ THERE, AND WE 358 00:10:19,719 --> 00:10:21,020 WERE THERE ALL THE TIME. AND SO 359 00:10:21,020 --> 00:10:22,522 IT WAS VERY NATURAL THAT WHEN WE 360 00:10:22,522 --> 00:10:24,824 PERFORMED OUR FIRST SHOW WAS, WE 361 00:10:24,824 --> 00:10:27,627 JUST THREW A PARTY THERE. 362 00:10:27,627 --> 00:10:29,829 THE OWNER LET US USE THE BACK 363 00:10:29,829 --> 00:10:30,730 ROOM TO HAVE A PARTY. 364 00:10:30,730 --> 00:10:32,532 WE PLAYED, I THINK IT WAS LIKE 365 00:10:32,532 --> 00:10:33,933 SEVEN TIMES WITHIN THE FIRST 366 00:10:33,933 --> 00:10:35,468 THREE MONTHS IN THE SAME CLUB, 367 00:10:35,468 --> 00:10:36,970 WHICH -- YOU KNOW, UNTIL WE 368 00:10:36,970 --> 00:10:40,373 START DOING HANUKKAH SHOWS AND 369 00:10:40,373 --> 00:10:41,875 PLAYED EIGHT TIMES IN EIGHT 370 00:10:41,875 --> 00:10:44,978 DAYS, IT SEEMED RIDICULOUS TO 371 00:10:44,978 --> 00:10:46,779 PLAY -- BUT IT WAS THAT ERA WHEN 372 00:10:46,779 --> 00:10:47,981 YOU COULD PLAY ALL THE TIME IN 373 00:10:47,981 --> 00:10:48,581 ONE PLACE. 374 00:10:48,581 --> 00:10:49,983 NOW, FOR ALL I KNOW, THAT'S 375 00:10:49,983 --> 00:10:51,384 GOING ON IN BROOKLYN RIGHT NOW 376 00:10:51,384 --> 00:10:53,586 AND YOUNGER BANDS HAVE THAT SAME 377 00:10:53,586 --> 00:10:54,888 RELATIONS. 378 00:10:54,888 --> 00:10:56,389 >> YEAH, IT PROBABLY HAPPENS ALL 379 00:10:56,389 --> 00:10:56,789 OVER THE WORLD. 380 00:10:56,789 --> 00:10:59,492 >> DO YOU EVER TOTAL UP IN YOUR 381 00:10:59,492 --> 00:11:00,793 MINDS OR ON PAPER HOW MANY TIMES 382 00:11:00,793 --> 00:11:02,595 YOU PLAYED AT MAXWELL'S? 383 00:11:02,595 --> 00:11:04,197 >> I TRIED AT ONE POINT. 384 00:11:04,197 --> 00:11:05,698 I TRIED TO ADD IT UP AND IT 385 00:11:05,698 --> 00:11:05,999 WAS -- 386 00:11:05,999 --> 00:11:07,000 >> TOO DEPRESSING? 387 00:11:07,000 --> 00:11:09,102 >> NO, VERY HAPPY. 388 00:11:09,102 --> 00:11:12,105 >> I THINK OF YOU AS A TOURING 389 00:11:12,105 --> 00:11:13,306 BAND THAT HAPPENS TO RECORD 390 00:11:13,306 --> 00:11:14,807 RATHER THAN A BAND THAT RECORDS 391 00:11:14,807 --> 00:11:17,110 MUSIC AND PUTS IT OUT AND TOURS 392 00:11:17,110 --> 00:11:17,810 TO SUPPORT THAT. 393 00:11:17,810 --> 00:11:20,113 IS THAT A FAIR CHARACTERIZATION? 394 00:11:20,113 --> 00:11:24,417 13 RECORDS IN 30 -- 13 STUDIO 395 00:11:24,417 --> 00:11:26,920 ALBUMS IN 30 YEARS IS NOT SUPER 396 00:11:26,920 --> 00:11:28,721 PROLIFIC. IT'S NOT THAT YOU 397 00:11:28,721 --> 00:11:29,222 NEVER RECORD -- 398 00:11:29,222 --> 00:11:29,622 >> YEAH. 399 00:11:29,622 --> 00:11:31,224 >> -- BUT IT'S NOT LIKE BANDS 400 00:11:31,224 --> 00:11:33,226 THAT PUT OUT A RECORD A YEAR. 401 00:11:33,226 --> 00:11:34,260 DO YOU THINK OF YOURSELF 402 00:11:34,260 --> 00:11:35,862 PRIMARILY AS A BAND THAT TOURS? 403 00:11:35,862 --> 00:11:37,463 >> I DON'T, ACTUALLY, THINK OF 404 00:11:37,463 --> 00:11:38,264 IT THAT WAY. 405 00:11:38,264 --> 00:11:39,566 I THINK IF I THOUGHT OF IT THAT 406 00:11:39,566 --> 00:11:40,967 WAY, I'D NEVER WANT TO TOUR 407 00:11:40,967 --> 00:11:41,167 AGAIN 408 00:11:41,167 --> 00:11:42,068 >> REALLY? 409 00:11:42,068 --> 00:11:43,870 TOO DEPRESSING TO CONTEMPLATE. 410 00:11:43,870 --> 00:11:47,173 >> I THINK IT'S OVERWHELMING. 411 00:11:47,173 --> 00:11:48,975 SO -- BUT I REALLY DO ENJOY IT. 412 00:11:48,975 --> 00:11:50,577 BUT WHEN -- AND I THINK IN A 413 00:11:50,577 --> 00:11:52,378 CERTAIN SENSE, EVEN IN THE LAST 414 00:11:52,378 --> 00:11:54,681 YEAR OR TWO, I ACTUALLY ENJOY IT 415 00:11:54,681 --> 00:11:57,083 AND FEEL LIKE I CAN DO IT MORE 416 00:11:57,083 --> 00:11:58,685 EASILY THAN I USED TO WHEN I WAS 417 00:11:58,685 --> 00:12:00,687 YOUNGER, WHICH, IN A CERTAIN 418 00:12:00,687 --> 00:12:02,088 WAY, MAKES NO SENSE AT ALL. 419 00:12:02,088 --> 00:12:04,090 BUT MAYBE -- MAYBE THERE'S KIND 420 00:12:04,090 --> 00:12:05,992 OF A -- SOMETHING YOU JUST SORT 421 00:12:05,992 --> 00:12:07,594 OF ACCEPT THINGS THAT ARE 422 00:12:07,594 --> 00:12:08,695 HAPPENING AND YOU RELAX MORE 423 00:12:08,695 --> 00:12:10,196 AND -- WHATEVER IT IS. 424 00:12:10,196 --> 00:12:11,197 >> HOW MANY DATES A YEAR WOULD 425 00:12:11,197 --> 00:12:13,299 YOU SAY THAT YOU'RE ON THE ROAD? 426 00:12:13,299 --> 00:12:14,300 >> IT VARIES. 427 00:12:14,300 --> 00:12:17,103 SEE, I DON'T THINK IT'S TRUE 428 00:12:17,103 --> 00:12:19,005 THAT WE'RE -- I THINK WE DO LOTS 429 00:12:19,005 --> 00:12:20,406 OF DIFFERENT THINGS, AND WE'VE 430 00:12:20,406 --> 00:12:25,612 MADE 13 -- FADE IS THE 13TH IN 431 00:12:25,612 --> 00:12:27,914 ANOTHER LIST, BUT ANOTHER LIST 432 00:12:27,914 --> 00:12:29,415 IT COULD BE CLOSER TO 25. 433 00:12:29,415 --> 00:12:30,216 >> RIGHT. 434 00:12:30,216 --> 00:12:31,718 THERE ARE PLENTY OF OTHER THINGS 435 00:12:31,718 --> 00:12:32,518 THAT YOU'VE DONE. 436 00:12:32,518 --> 00:12:32,919 >> YEAH. 437 00:12:32,919 --> 00:12:34,153 AND WE DO LOTS OF RECORDING IN 438 00:12:34,153 --> 00:12:36,055 OUR SPACE, AND LOTS OF THINGS. 439 00:12:36,055 --> 00:12:38,257 I THINK, FOR INSTANCE, WE MADE A 440 00:12:38,257 --> 00:12:41,361 RECORD UNDER A DIFFERENT NAME. 441 00:12:41,361 --> 00:12:43,363 >> CANNOT BE SAID ON PUBLIC 442 00:12:43,363 --> 00:12:43,963 TELEVISION. 443 00:12:43,963 --> 00:12:47,267 >> I'M NOT SURE THAT'S ONE OF 444 00:12:47,267 --> 00:12:47,467 THE 13. 445 00:12:47,467 --> 00:12:48,768 >> THAT WAS A GREAT RECORD. 446 00:12:48,768 --> 00:12:49,869 THAT WAS A RECORD OF COVER 447 00:12:49,869 --> 00:12:50,570 SONGS. 448 00:12:50,570 --> 00:12:50,970 >> THANK YOU. 449 00:12:50,970 --> 00:12:53,172 >> YOU DID A RECORD OF COVER 450 00:12:53,172 --> 00:12:56,276 SONGS, YOU'RE NOT ENJOINED FROM 451 00:12:56,276 --> 00:12:58,077 SAYING THAT, YO LA TENGO 452 00:12:58,077 --> 00:12:59,779 MURDERING THE CLASSICS. IT HAS 453 00:12:59,779 --> 00:13:01,581 A NUMBER OF WONDERFUL SONGS 454 00:13:01,581 --> 00:13:05,284 INCLUDING -- AND IT'S A PERFECT 455 00:13:05,284 --> 00:13:08,688 TRANSITION, IRA, OF THE NEW YORK 456 00:13:08,688 --> 00:13:10,490 THEME SONGS MEET THE METS. IF I 457 00:13:10,490 --> 00:13:11,791 WAS A DIFFERENT KIND OF HOST, I 458 00:13:11,791 --> 00:13:13,292 WOULD DEMAND THAT YOU SING -- 459 00:13:13,292 --> 00:13:14,394 THIS IS ACTUALLY IMPORTANT. 460 00:13:14,394 --> 00:13:16,396 IF YOU GO BACK TO THE ORIGINS OF 461 00:13:16,396 --> 00:13:18,297 THE BAND, THE LEGEND IS, IT 462 00:13:18,297 --> 00:13:19,399 BROUGHT THE TWO OF YOU TOGETHER, 463 00:13:19,399 --> 00:13:25,605 I'M ASSUMING EARLY '80S, LATE 464 00:13:25,605 --> 00:13:28,408 '70S, IS THAT RIGHT? 465 00:13:28,408 --> 00:13:30,009 >> I DON'T KNOW IF THAT'S WHAT 466 00:13:30,009 --> 00:13:30,610 BROUGHT US TOGETHER. 467 00:13:30,610 --> 00:13:32,311 >> YOU HAD IN COMMON? 468 00:13:32,311 --> 00:13:33,112 >> YEAH, YEAH. 469 00:13:33,112 --> 00:13:34,647 >> IF THE STORY IS TRUE, THE 470 00:13:34,647 --> 00:13:36,149 STORIES ALWAYS TOLD ABOUT YOU 471 00:13:36,149 --> 00:13:38,851 ALL, YOU WOULD SEE EACH OTHER AT 472 00:13:38,851 --> 00:13:41,254 SIMILAR SHOWS, YOU KIND OF FOUND 473 00:13:41,254 --> 00:13:42,955 YOURSELF IN A SIMILAR UNIVERSE. 474 00:13:42,955 --> 00:13:43,356 >> YEAH. 475 00:13:43,356 --> 00:13:43,856 >> THAT'S CORRECT? 476 00:13:43,856 --> 00:13:46,259 >> SO THE BAND CAME TOGETHER IN 477 00:13:46,259 --> 00:13:49,162 1984, BUT YOU-ALL WERE TOGETHER 478 00:13:49,162 --> 00:13:51,564 FOR HOW LONG BEFORE THAT? 479 00:13:51,564 --> 00:13:52,065 >> THREE YEARS. 480 00:13:52,065 --> 00:13:52,565 >> YEAH. 481 00:13:52,565 --> 00:13:53,966 >> WERE YOU MARRIED WHEN THE 482 00:13:53,966 --> 00:13:55,468 BAND STARTED OR DID YOU GET 483 00:13:55,468 --> 00:13:57,070 MARRIED LATER? 484 00:13:57,070 --> 00:13:58,271 >> WE GOT MARRIED LATER. 485 00:13:58,271 --> 00:14:00,873 >> IS THE PETER STORY CORRECT, 486 00:14:00,873 --> 00:14:02,275 YOU WERE WRITING NEW YORK 487 00:14:02,275 --> 00:14:03,776 ROCKER, CORRECT, AND THERE WAS A 488 00:14:03,776 --> 00:14:04,777 PARTY AND THE FIRST TIME YOU 489 00:14:04,777 --> 00:14:06,079 EVER PLAYED TOGETHER WAS AT A 490 00:14:06,079 --> 00:14:07,480 PARTY AT THE OFFICES OF NEW YORK 491 00:14:07,480 --> 00:14:07,980 ROCKER? 492 00:14:07,980 --> 00:14:11,584 >> YEAH, THE DB'S -- PETER, A 493 00:14:11,584 --> 00:14:13,486 MEMBER OF THE DB'S, HE USED TO 494 00:14:13,486 --> 00:14:15,488 PLAY AT PARTIES, AND THEY WOULD 495 00:14:15,488 --> 00:14:15,788 WORK UP -- 496 00:14:15,788 --> 00:14:17,490 >> I MEAN, IT'S VERY EASY FOR US 497 00:14:17,490 --> 00:14:18,891 TO TRACE CERTAIN THINGS THAT WE 498 00:14:18,891 --> 00:14:19,192 DO. 499 00:14:19,192 --> 00:14:21,194 OH, YEAH, THIS IS FROM THE DB'S. 500 00:14:21,194 --> 00:14:22,495 THEY WOULD PLAY AT PARTIES AND 501 00:14:22,495 --> 00:14:24,297 THEY'D QUICKLY THROW TOGETHER A 502 00:14:24,297 --> 00:14:26,399 BUNCH OF COVER SONGS, AND IT WAS 503 00:14:26,399 --> 00:14:26,599 GREAT. 504 00:14:26,599 --> 00:14:26,799 >> RIGHT. 505 00:14:26,799 --> 00:14:31,204 >> AND ONE TIME PETER ASKED IF 506 00:14:31,204 --> 00:14:33,706 WE WANTED TO JOIN THEM, AND, 507 00:14:33,706 --> 00:14:35,141 WELL, AT THE TIME, WE HAD JUST 508 00:14:35,141 --> 00:14:38,644 PLAYED TOGETHER IN THE PLAYROOM 509 00:14:38,644 --> 00:14:39,846 OF THE HOUSE I GREW UP IN, YOU 510 00:14:39,846 --> 00:14:42,248 KNOW, WE'D ONCE IN A WHILE -- 511 00:14:42,248 --> 00:14:44,550 WE'D PLAYED FOR NOBODY BUT 512 00:14:44,550 --> 00:14:45,151 OURSELVES. 513 00:14:45,151 --> 00:14:45,952 >> RIGHT. 514 00:14:45,952 --> 00:14:47,053 WERE YOU NECESSARILY INTENDING 515 00:14:47,053 --> 00:14:47,954 TO START A BAND? 516 00:14:47,954 --> 00:14:48,454 >> NO. 517 00:14:48,454 --> 00:14:49,756 >> WE ABSOLUTELY WEREN'T. 518 00:14:49,756 --> 00:14:50,156 >> NO. 519 00:14:50,156 --> 00:14:51,557 >> YOU ABSOLUTELY WERE NOT? 520 00:14:51,557 --> 00:14:53,459 >> RIGHT. 521 00:14:53,459 --> 00:14:54,460 >> LOOK AT THAT. 522 00:14:54,460 --> 00:14:54,961 >> FUNNY. 523 00:14:54,961 --> 00:14:56,662 >> YOUR BACKGROUND, GEORGIA, YOU 524 00:14:56,662 --> 00:14:58,765 ARE ONE OF FOUR CHILDREN OF TWO 525 00:14:58,765 --> 00:15:01,067 VERY FAMOUS ANIMATORS IN 526 00:15:01,067 --> 00:15:07,573 FILMMAKERS, FAITH AND JOHN 527 00:15:07,573 --> 00:15:08,574 HUBLEY. 528 00:15:08,574 --> 00:15:13,179 >> IS THERE A MR. McGOO 529 00:15:13,179 --> 00:15:13,679 CONNECTION? 530 00:15:13,679 --> 00:15:15,581 >> MY DAD STARTED OUT WORKING 531 00:15:15,581 --> 00:15:17,583 FOR WALT DISNEY, AND HE WORKED 532 00:15:17,583 --> 00:15:19,285 ON SOME OF THE DISNEY FILMS, 533 00:15:19,285 --> 00:15:20,086 ACTUALLY. 534 00:15:20,086 --> 00:15:20,586 >> YEAH. 535 00:15:20,586 --> 00:15:23,089 >> AND THEN HE AND A BUNCH OF 536 00:15:23,089 --> 00:15:24,991 OTHER PEOPLE AT DISNEY BECAME 537 00:15:24,991 --> 00:15:26,993 DISENCHANTED WITH THE TRADITIONS 538 00:15:26,993 --> 00:15:28,594 THERE, AND THEY LEFT; STRIKED; 539 00:15:28,594 --> 00:15:31,397 AND THEY FORMED UPA, EVENTUALLY. 540 00:15:31,397 --> 00:15:35,234 AND MR. McGOO IS KIND OF THE 541 00:15:35,234 --> 00:15:36,736 FIRST BIG CHARACTER TO COME OUT 542 00:15:36,736 --> 00:15:37,136 OF THAT. 543 00:15:37,136 --> 00:15:38,738 >> INCREDIBLE. I KNOW THEY WERE 544 00:15:38,738 --> 00:15:40,540 JUST RECENTLY -- THERE WAS A BIG 545 00:15:40,540 --> 00:15:41,841 CELEBRATION OF THEIR LIVES AND 546 00:15:41,841 --> 00:15:42,742 WORK. 547 00:15:42,742 --> 00:15:43,943 >> THERE IS A PROGRAM -- 548 00:15:43,943 --> 00:15:45,144 >> YEAH. 549 00:15:45,144 --> 00:15:46,445 THIS YEAR IS MY DAD'S 550 00:15:46,445 --> 00:15:51,751 CENTENNIAL, SO THERE'S ACTUALLY 551 00:15:51,751 --> 00:15:53,553 A TOURING SHOW FROM THEIR SHOW. 552 00:15:53,553 --> 00:15:55,555 >> YOU COME FROM A VERY CREATIVE 553 00:15:55,555 --> 00:15:56,155 FAMILY. 554 00:15:56,155 --> 00:15:59,158 YOU, IRA, WERE A ROCK CRITIC. 555 00:15:59,158 --> 00:16:00,860 YOU WORKED FOR SOME NEWS PRESS. 556 00:16:00,860 --> 00:16:03,162 >> THE SOHO NEWS. 557 00:16:03,162 --> 00:16:04,564 >> AND YOU'RE A ROCKER. 558 00:16:04,564 --> 00:16:05,364 THERE WAS A LOT OF PEOPLE, 559 00:16:05,364 --> 00:16:07,466 DEFINITION OF A ROCKER, WELL, I 560 00:16:07,466 --> 00:16:08,267 CAN DO THAT BETTER. 561 00:16:08,267 --> 00:16:09,569 THAT WASN'T NECESSARILY THE CASE 562 00:16:09,569 --> 00:16:11,070 IN YOUR SITUATION? 563 00:16:11,070 --> 00:16:11,571 >> NO. 564 00:16:11,571 --> 00:16:12,572 IS THAT WHAT PEOPLE -- 565 00:16:12,572 --> 00:16:13,973 >> I THINK PEOPLE WHO DO 566 00:16:13,973 --> 00:16:15,975 CRITICISM ARE OFTEN THOUGHT TO 567 00:16:15,975 --> 00:16:17,777 BE FRUSTRATED ARTISTS 568 00:16:17,777 --> 00:16:18,277 THEMSELVES. 569 00:16:18,277 --> 00:16:18,778 >> RIGHT. 570 00:16:18,778 --> 00:16:19,979 WELL, I WOULD AGREE WITH THAT. 571 00:16:19,979 --> 00:16:22,181 I MEAN, I WAS A FRUSTRATED 572 00:16:22,181 --> 00:16:22,682 ARTIST. 573 00:16:22,682 --> 00:16:24,083 I JUST DIDN'T THINK I COULD DO 574 00:16:24,083 --> 00:16:24,684 IT BETTER. 575 00:16:24,684 --> 00:16:25,985 >> YOU JUST THOUGHT YOU COULD DO 576 00:16:25,985 --> 00:16:26,085 IT. 577 00:16:26,085 --> 00:16:28,087 >> NO, I'M NOT SURE I THOUGHT I 578 00:16:28,087 --> 00:16:28,588 COULD DO IT. 579 00:16:28,588 --> 00:16:29,388 I JUST WANTED TO. 580 00:16:29,388 --> 00:16:33,493 >> YOU JUST ENVIED THEM. 581 00:16:33,493 --> 00:16:34,527 OBVIOUSLY, YOU HAD SOME POINTS 582 00:16:34,527 --> 00:16:35,828 AND TRADITIONS THAT YOU ALL 583 00:16:35,828 --> 00:16:37,129 FOUND THE OPPORTUNITY TO FOUND A 584 00:16:37,129 --> 00:16:37,530 BAND TOGETHER. 585 00:16:37,530 --> 00:16:38,931 >> WE -- YES. 586 00:16:38,931 --> 00:16:39,832 SOMEHOW IT HAPPENED. 587 00:16:39,832 --> 00:16:40,733 >> SO THE NAME OF THE BAND -- 588 00:16:40,733 --> 00:16:42,535 THIS IS ALWAYS A GREAT STORY FOR 589 00:16:42,535 --> 00:16:43,936 PEOPLE, I'M SURE, ASK YOU ALL 590 00:16:43,936 --> 00:16:45,638 THE TIME. SO WHERE YO LA TENGO 591 00:16:45,638 --> 00:16:46,038 CAME FROM. 592 00:16:46,038 --> 00:16:47,940 IT HAS A CONNECTION BACK TO THE 593 00:16:47,940 --> 00:16:49,041 METS, DOES IT NOT? 594 00:16:49,041 --> 00:16:50,343 >> IT WAS A STORY -- 595 00:16:50,343 --> 00:16:51,244 >> TELL THE STORY. 596 00:16:51,244 --> 00:16:53,446 >> THE STORY HAPPENED IN THEIR 597 00:16:53,446 --> 00:16:55,748 FIRST YEAR, AND -- BUT ANOTHER 598 00:16:55,748 --> 00:16:57,350 PROJECT I UNDERTOOK ON OUR 599 00:16:57,350 --> 00:16:59,252 WEBSITE A COUPLE OF YEARS -- TWO 600 00:16:59,252 --> 00:17:02,755 YEARS AGO, THE 50TH YEAR 601 00:17:02,755 --> 00:17:04,557 ANNIVERSARY OF THE CREATION OF 602 00:17:04,557 --> 00:17:06,659 THE METS, WAS TO TRY TO FIND THE 603 00:17:06,659 --> 00:17:08,761 DAY WHEN THIS STORY, WHICH HAS 604 00:17:08,761 --> 00:17:13,165 TO BE SUPPOSEDLY THE CENTER 605 00:17:13,165 --> 00:17:14,567 FIELDER, IF YOU PLAY ANY 606 00:17:14,567 --> 00:17:16,669 BASEBALL, THE CENTER FIELDER IS 607 00:17:16,669 --> 00:17:17,370 LIKE IN CHARGE. 608 00:17:17,370 --> 00:17:19,872 AND THE BALLS HIT THE AIR, HE 609 00:17:19,872 --> 00:17:20,973 CALLS FOR THE BALL, EVERYONE 610 00:17:20,973 --> 00:17:22,074 GETS OUT OF HIS WAY. 611 00:17:22,074 --> 00:17:23,376 AND SUPPOSEDLY THEIR 612 00:17:23,376 --> 00:17:25,478 SPANISH-SPEAKING SHORTSTOP 613 00:17:25,478 --> 00:17:26,679 DIDN'T UNDERSTAND HIM SAYING 614 00:17:26,679 --> 00:17:29,882 "I'VE GOT IT" AND COLLIDED WITH 615 00:17:29,882 --> 00:17:32,084 HIM, SO HE LEARNED TO SAY IT IN 616 00:17:32,084 --> 00:17:35,788 SPANISH, YO LA TENGO. 617 00:17:35,788 --> 00:17:38,391 THE STORY IS RIDICULOUS. 618 00:17:38,391 --> 00:17:39,392 >> IT CANNOT BE TRUE. 619 00:17:39,392 --> 00:17:40,793 >> IT MUST BE TRUE. 620 00:17:40,793 --> 00:17:42,495 >> IT'S NOT. PLAYING BASEBALL 621 00:17:42,495 --> 00:17:44,997 AND THE CENTER FIELDER YELLS 622 00:17:44,997 --> 00:17:46,299 SOMETHING, THERE'S A VERY SHORT 623 00:17:46,299 --> 00:17:48,801 LIST OF THINGS HE'S YELLING. 624 00:17:48,801 --> 00:17:51,404 >> I'M GOING TO CATCH THIS BALL. 625 00:17:51,404 --> 00:17:52,705 >> RIGHT. 626 00:17:52,705 --> 00:17:53,706 >> NOPE. 627 00:17:53,706 --> 00:17:54,707 THAT'S IT. 628 00:17:54,707 --> 00:17:56,609 IT'S A LIST WITH ONE ITEM. 629 00:17:56,609 --> 00:17:59,612 >> I CHANGED MY MIND. 630 00:17:59,612 --> 00:18:03,916 >> LATIN, JAPANESE, ANYTHING HE 631 00:18:03,916 --> 00:18:05,718 YELLS, THAT'S WHAT HE'S SAYING, 632 00:18:05,718 --> 00:18:07,219 GET OUT OF MY WAY. 633 00:18:07,219 --> 00:18:07,620 >> RIGHT. 634 00:18:07,620 --> 00:18:09,422 >> SO THE STORY CAN'T BE TRUE. 635 00:18:09,422 --> 00:18:11,023 >> AND YET -- 636 00:18:11,023 --> 00:18:12,124 >> BUT IT WAS A GOOD STORY. 637 00:18:12,124 --> 00:18:13,025 >> MAYBE IT HAPPENED. 638 00:18:13,025 --> 00:18:14,727 >> IT'S TAKEN ON THE VENEER OF 639 00:18:14,727 --> 00:18:15,528 LIKE THE TRUTH. 640 00:18:15,528 --> 00:18:18,931 >> YEAH, WHY IT'S BETTER THAN 641 00:18:18,931 --> 00:18:19,131 TRUTH. 642 00:18:19,131 --> 00:18:21,634 >> WHY EVEN MESS WITH IT, RIGHT, 643 00:18:21,634 --> 00:18:22,535 IF THAT'S WHAT IT IS. 644 00:18:22,535 --> 00:18:25,738 >> SO I WANT TO ASK WHO YOUR 645 00:18:25,738 --> 00:18:27,340 INFLUENCES WERE OR MAYBE EARLY 646 00:18:27,340 --> 00:18:29,442 TASTES AS MUSIC FANS THAT MAYBE 647 00:18:29,442 --> 00:18:31,243 SHAPED THE MUSIC THAT YOU 648 00:18:31,243 --> 00:18:31,644 CREATE. 649 00:18:31,644 --> 00:18:32,745 AGAIN WHEN YOU WERE LOOKING FOR 650 00:18:32,745 --> 00:18:34,280 OTHER PEOPLE TO JOIN IN WITH 651 00:18:34,280 --> 00:18:41,487 YOU, I HEARD THE NAMES MISSION 652 00:18:41,487 --> 00:18:45,191 OF BURMA, THAT WOULD PRESUME 653 00:18:45,191 --> 00:18:48,494 SOME OF THE BANDS THAT WERE IN 654 00:18:48,494 --> 00:18:50,396 CONNECTION WITH YOU AT THE TIME. 655 00:18:50,396 --> 00:18:53,199 >> YEAH, I THINK SO -- THOSE -- 656 00:18:53,199 --> 00:18:55,001 I STILL LOVE THOSE BANDS THE 657 00:18:55,001 --> 00:18:56,602 ONES YOU JUST NAMED. 658 00:18:56,602 --> 00:18:57,703 THE DOES -- 659 00:18:57,703 --> 00:19:01,307 >> ANOTHER BIG MAXWELL'S -- THEY 660 00:19:01,307 --> 00:19:02,508 CLAIMED MAXWELL AS THEIR HOME 661 00:19:02,508 --> 00:19:03,509 BASE -- ALSO, PROBABLY. 662 00:19:03,509 --> 00:19:04,610 >> AND THEY WERE THERE WHEN WE 663 00:19:04,610 --> 00:19:10,916 WERE STARTED, HELPFUL IN SORT 664 00:19:10,916 --> 00:19:13,719 OF, YOU KNOW, GETTING US TO SAY 665 00:19:13,719 --> 00:19:14,020 SOMETHING. 666 00:19:14,020 --> 00:19:16,322 HE ACTUALLY RECORDED FIRE AND 667 00:19:16,322 --> 00:19:17,323 ICE IN HIS BASEMENT. 668 00:19:17,323 --> 00:19:18,424 >> OH, IS THAT RIGHT? 669 00:19:18,424 --> 00:19:20,726 >> YEAH. 670 00:19:20,726 --> 00:19:22,128 >> DOES THAT RECORDING EXIST 671 00:19:22,128 --> 00:19:22,528 SOMEWHERE? 672 00:19:22,528 --> 00:19:24,030 >> I DON'T THINK WE CAN FIND IT. 673 00:19:24,030 --> 00:19:25,131 >> THAT WOULD BE ONE OF THOSE 674 00:19:25,131 --> 00:19:27,533 THINGS THAT WOULD BE FANTASTIC 675 00:19:27,533 --> 00:19:28,734 TO FIND OVER THE INTERNET. 676 00:19:28,734 --> 00:19:29,235 >> YEAH. 677 00:19:29,235 --> 00:19:30,836 >> SO YOU LISTEN TO DIFFERENT 678 00:19:30,836 --> 00:19:31,837 KINDS OF MUSIC. 679 00:19:31,837 --> 00:19:34,774 DID YOU LISTEN TO A BASIC ARRAY 680 00:19:34,774 --> 00:19:36,375 OF MUSIC? 681 00:19:36,375 --> 00:19:37,376 DID YOU LISTEN TO THE BANDS THAT 682 00:19:37,376 --> 00:19:38,878 THE REST OF US LISTENED TO AT 683 00:19:38,878 --> 00:19:39,378 THAT POINT? 684 00:19:39,378 --> 00:19:40,880 CONVENTIONAL ROCK AND ROLL 685 00:19:40,880 --> 00:19:41,280 AND -- 686 00:19:41,280 --> 00:19:42,081 >> OH, YEAH. 687 00:19:42,081 --> 00:19:43,883 WE'VE ALWAYS LISTENED TO -- I 688 00:19:43,883 --> 00:19:45,785 THINK WHAT WE WERE -- I THINK WE 689 00:19:45,785 --> 00:19:47,286 WERE LOOKING FOR SOMEBODY WHO 690 00:19:47,286 --> 00:19:49,188 MAY BE -- I'M NOT -- HONESTLY, 691 00:19:49,188 --> 00:19:50,189 I'M NOT SURE. 692 00:19:50,189 --> 00:19:53,692 WE -- THOSE ADS, IT WAS HARD TO 693 00:19:53,692 --> 00:19:54,994 FIND PEOPLE TO PLAY WITH US, 694 00:19:54,994 --> 00:19:56,595 WHICH IS WHY IT REALLY TOOK US 695 00:19:56,595 --> 00:19:58,998 SEVEN YEARS TO GET OUR BAND 696 00:19:58,998 --> 00:19:59,398 GOING. 697 00:19:59,398 --> 00:20:01,100 IT REALLY WASN'T UNTIL JAMES 698 00:20:01,100 --> 00:20:04,303 JOINED IN '91 THAT -- I MEAN, WE 699 00:20:04,303 --> 00:20:04,703 THOUGHT -- 700 00:20:04,703 --> 00:20:06,205 >> YOU HAD A COUPLE OF DIFFERENT 701 00:20:06,205 --> 00:20:08,607 PEOPLE, DAVE SCHRAMM, THAT WENT 702 00:20:08,607 --> 00:20:13,512 ON TO -- 703 00:20:13,512 --> 00:20:14,713 >> BUT WE LEARNED HOW DIFFERENT 704 00:20:14,713 --> 00:20:15,114 IT WAS. 705 00:20:15,114 --> 00:20:17,116 AND THOSE PEOPLE PLAYED WITH US. 706 00:20:17,116 --> 00:20:18,417 BUT WE WEREN'T A BAND. 707 00:20:18,417 --> 00:20:19,919 AND WHEN JAMES JOINED -- 708 00:20:19,919 --> 00:20:21,220 >> YOU DON'T THINK YOU BECAME A 709 00:20:21,220 --> 00:20:25,124 BAND UNTIL JAMES JOINED? 710 00:20:25,124 --> 00:20:26,225 >> WITHOUT A DOUBT. 711 00:20:26,225 --> 00:20:27,426 AND THEN WE STARTED PRACTICING 712 00:20:27,426 --> 00:20:28,728 AND PLAYING ALL THE TIME, AND 713 00:20:28,728 --> 00:20:29,929 EVEN IF WE DIDN'T HAVE A SHOW, 714 00:20:29,929 --> 00:20:32,932 WE GOT TOGETHER AND PRACTICED. 715 00:20:32,932 --> 00:20:34,967 AND WE REALLY STARTED -- I MEAN, 716 00:20:34,967 --> 00:20:36,569 LEAPS AND BOUNDS JUST IN THE 717 00:20:36,569 --> 00:20:37,470 CONFIDENCE WE HAD AND -- 718 00:20:37,470 --> 00:20:39,171 >> BUT THERE WERE NO BANDS IN 719 00:20:39,171 --> 00:20:40,473 PARTICULAR OR NO STYLES OF MUSIC 720 00:20:40,473 --> 00:20:42,074 OR NOTHING THAT YOU CAN POINT 721 00:20:42,074 --> 00:20:44,276 BACK TO SAYING WE WERE TRYING TO 722 00:20:44,276 --> 00:20:45,077 EMULATE THIS? 723 00:20:45,077 --> 00:20:46,879 WE REALLY LISTENED OBSESSIVELY 724 00:20:46,879 --> 00:20:48,080 TO THIS AND WE THOUGHT THAT WE 725 00:20:48,080 --> 00:20:49,482 ACTUALLY MIGHT -- OUR IDENTITY 726 00:20:49,482 --> 00:20:52,084 AS A BAND, OUR CREATIVE IDENTITY 727 00:20:52,084 --> 00:20:54,186 MIGHT BE ACTUALLY REFLECTIVE OF 728 00:20:54,186 --> 00:20:54,587 THIS? 729 00:20:54,587 --> 00:20:56,489 >> THE ASPECT OF INFLUENCE, IT'S 730 00:20:56,489 --> 00:20:59,291 ALWAYS A WORD I'VE RUN FROM, BUT 731 00:20:59,291 --> 00:21:00,893 TO THE EXTENT THAT I EMBRACE IT, 732 00:21:00,893 --> 00:21:02,495 IT HAS MORE TO DO WITH AN 733 00:21:02,495 --> 00:21:06,799 APPROACH THAN IT DOES WITH -- I 734 00:21:06,799 --> 00:21:08,501 WAS SAYING LIKE THE DB'S HAVE 735 00:21:08,501 --> 00:21:11,303 THESE PARTIES, AND THAT REALLY 736 00:21:11,303 --> 00:21:12,905 DEFINITELY RUBBED OFF, THE WAY 737 00:21:12,905 --> 00:21:14,807 THAT THEY WOULD PLAY SONGS. 738 00:21:14,807 --> 00:21:16,809 EVERY TIME YOU'D SEE THEM, THEY 739 00:21:16,809 --> 00:21:18,010 WOULD PLAY SONGS THAT THEY 740 00:21:18,010 --> 00:21:19,211 DIDN'T DO THE TIME BEFORE. 741 00:21:19,211 --> 00:21:20,713 >> RIGHT. 742 00:21:20,713 --> 00:21:23,115 >> AND THAT, OBVIOUSLY, WAS VERY 743 00:21:23,115 --> 00:21:25,017 MEANINGFUL TO THE WAY WE THEN 744 00:21:25,017 --> 00:21:25,818 STRUCTURED OUR BAND. 745 00:21:25,818 --> 00:21:26,318 >> RIGHT. 746 00:21:26,318 --> 00:21:28,120 >> I MEAN, TO A RIDICULOUS 747 00:21:28,120 --> 00:21:28,721 EXTENT. 748 00:21:28,721 --> 00:21:30,122 I MEAN, THE SECOND TIME WE 749 00:21:30,122 --> 00:21:31,223 PLAYED, WE SHOULD HAVE 750 00:21:31,223 --> 00:21:33,526 ABSOLUTELY NOT DONE -- WE DIDN'T 751 00:21:33,526 --> 00:21:34,860 KNOW HOW TO PLAY THE SONGS WE 752 00:21:34,860 --> 00:21:36,061 PLAYED THE FIRST TIME. 753 00:21:36,061 --> 00:21:38,063 WE SHOULD HAVE JUST REALLY 754 00:21:38,063 --> 00:21:39,265 WORKED ON THOSE SONGS. 755 00:21:39,265 --> 00:21:39,565 >> RIGHT. 756 00:21:39,565 --> 00:21:40,466 >> BUT WE DIDN'T. 757 00:21:40,466 --> 00:21:41,967 WE JUST RIGHT FROM THE BEGINNING 758 00:21:41,967 --> 00:21:43,269 SET THIS GOAL THAT EVERY SHOW 759 00:21:43,269 --> 00:21:45,471 WOULD BE DIFFERENT, EVERY SHOW 760 00:21:45,471 --> 00:21:46,372 AND EVERY SONG. 761 00:21:46,372 --> 00:21:47,973 >> SET LIST WOULD BE DIFFERENT. 762 00:21:47,973 --> 00:21:48,374 >> YEAH. 763 00:21:48,374 --> 00:21:50,276 >> AND IS THAT THE CASE TODAY? 764 00:21:50,276 --> 00:21:52,077 30 YEARS LATER, EVERY SHOW IS 765 00:21:52,077 --> 00:21:52,478 DIFFERENT? 766 00:21:52,478 --> 00:21:53,279 >> YEAH. 767 00:21:53,279 --> 00:21:56,282 BUT THEN CONVERSELY, THE 768 00:21:56,282 --> 00:22:00,186 THEELY'S, WHO ACTUALLY DID PLAY 769 00:22:00,186 --> 00:22:03,189 THE SAME SONG, THE METICULOUS 770 00:22:03,189 --> 00:22:05,491 APPROACH THEY TOOK, SOMEWHERE IN 771 00:22:05,491 --> 00:22:07,593 THE SECOND VERSE, HE'D GO CLICK. 772 00:22:07,593 --> 00:22:09,395 AND YOU'D GO, WOW, THE SONG 773 00:22:09,395 --> 00:22:10,896 REALLY -- THERE IT WAS. 774 00:22:10,896 --> 00:22:11,697 >> RIGHT. 775 00:22:11,697 --> 00:22:13,199 >> IT JUST CREATED SO MUCH. 776 00:22:13,199 --> 00:22:16,802 AND EVEN AS GEORGIA SAID, 777 00:22:16,802 --> 00:22:18,904 RECORDING US THIS FIRST TIME, HE 778 00:22:18,904 --> 00:22:20,706 REPLAYED A LITTLE, AND THEN BILL 779 00:22:20,706 --> 00:22:22,408 ADDED THIS LITTLE GUITAR PART. 780 00:22:22,408 --> 00:22:24,310 I WAS LIKE, OH, WOW. 781 00:22:24,310 --> 00:22:25,211 >> TRANSFORMED IT. 782 00:22:25,211 --> 00:22:26,412 >> NOW IT'S MUSIC. 783 00:22:26,412 --> 00:22:26,912 >> YEAH. 784 00:22:26,912 --> 00:22:30,916 >> AND SO THAT KIND OF APPROACH 785 00:22:30,916 --> 00:22:32,918 TO MAKING MUSIC, I THINK WE 786 00:22:32,918 --> 00:22:34,353 LEARNED A LOT FROM THEM, SO IT 787 00:22:34,353 --> 00:22:36,155 WASN'T NECESSARILY TO SOUND LIKE 788 00:22:36,155 --> 00:22:37,957 THEM, BUT TO THINK -- 789 00:22:37,957 --> 00:22:38,757 >> YEP. 790 00:22:38,757 --> 00:22:40,159 >> -- THE WAY THEY DID. 791 00:22:40,159 --> 00:22:40,859 >> UH-HUH. 792 00:22:40,859 --> 00:22:42,761 NOW, THERE IS ONE THING, 793 00:22:42,761 --> 00:22:44,363 GEORGIA, ABOUT YOUR SHOWS NOW, 794 00:22:44,363 --> 00:22:45,965 AT LEAST, THAT INTERESTS ME, THE 795 00:22:45,965 --> 00:22:47,266 DECISION -- I DON'T KNOW HOW 796 00:22:47,266 --> 00:22:48,968 RECENTLY YOU MADE THE DECISION 797 00:22:48,968 --> 00:22:50,369 TO ADVERTISE THIS WAY. 798 00:22:50,369 --> 00:22:52,671 AND I SEE ON YOUR SCHEDULE OF 799 00:22:52,671 --> 00:22:54,073 UPCOMING SHOWS, AT LEAST ONE OR 800 00:22:54,073 --> 00:22:55,674 TWO OF THE UPCOMING SHOWS OUT OF 801 00:22:55,674 --> 00:22:58,077 THE COUNTRY ARE SCHEDULED LIKE 802 00:22:58,077 --> 00:23:00,379 THIS ONE LOUD SET AND ONE SOFT, 803 00:23:00,379 --> 00:23:02,481 SO WHAT'S THE POINT OF 804 00:23:02,481 --> 00:23:03,782 TELEGRAPHING THE FACT THAT IT'S 805 00:23:03,782 --> 00:23:05,084 ONE LOUD AND ONE QUIET? 806 00:23:05,084 --> 00:23:06,485 >> WELL, I THINK IT CAME 807 00:23:06,485 --> 00:23:09,688 ABOUT -- WELL, FOR ONE THING, WE 808 00:23:09,688 --> 00:23:11,090 LIKE TO PLAY A LONG TIME. 809 00:23:11,090 --> 00:23:11,790 >> RIGHT. 810 00:23:11,790 --> 00:23:14,894 >> IF ANYONE'S SEEN US, WE LIKE 811 00:23:14,894 --> 00:23:15,694 TO PLAY A LONG TIME. 812 00:23:15,694 --> 00:23:16,395 >> THAT'S RIGHT. 813 00:23:16,395 --> 00:23:17,896 >> AND WE HAVE A LOT OF 814 00:23:17,896 --> 00:23:19,598 DIFFERENT KINDS OF SONGS, AND I 815 00:23:19,598 --> 00:23:21,200 THINK IT WAS -- AND THEN FADE, 816 00:23:21,200 --> 00:23:23,602 OUR MOST RECENT RECORD, IS A 817 00:23:23,602 --> 00:23:24,803 FAIRLY QUIET RECORD -- 818 00:23:24,803 --> 00:23:25,404 >> YEP. 819 00:23:25,404 --> 00:23:27,106 >> -- IN GENERAL, AND WE 820 00:23:27,106 --> 00:23:28,007 THOUGHT -- I DON'T REMEMBER 821 00:23:28,007 --> 00:23:29,208 EXACTLY HOW WE CAME UP WITH THAT 822 00:23:29,208 --> 00:23:31,210 IDEA, BUT WHEN WE WERE GOING TO 823 00:23:31,210 --> 00:23:32,211 GO ON TOUR, WE THOUGHT, YOU 824 00:23:32,211 --> 00:23:34,046 KNOW, IT WOULD BE REALLY NICE TO 825 00:23:34,046 --> 00:23:35,648 ACTUALLY, YOU KNOW, PUT TOGETHER 826 00:23:35,648 --> 00:23:40,853 KIND OF A SMALL SET WHERE WE, 827 00:23:40,853 --> 00:23:44,056 YOU KNOW, ACTUALLY PLAYED A 828 00:23:44,056 --> 00:23:45,557 STRIPPED-DOWN DRUM KIT. 829 00:23:45,557 --> 00:23:47,259 IT'S JUST A LITTLE QUIETER. 830 00:23:47,259 --> 00:23:47,960 >> YEAH. 831 00:23:47,960 --> 00:23:49,962 >> AND SMALL, AND PLAY A LOT OF 832 00:23:49,962 --> 00:23:51,063 THOSE SONGS FROM THE RECORD, AND 833 00:23:51,063 --> 00:23:52,564 MAYBE SOME OTHER QUIET SONGS 834 00:23:52,564 --> 00:23:53,966 THAT WE PLAY, AND THEN JUST 835 00:23:53,966 --> 00:23:54,767 FOCUS ON THAT. 836 00:23:54,767 --> 00:23:55,668 AND THEN COME BACK AND, YOU 837 00:23:55,668 --> 00:23:57,069 KNOW, GO CRAZY. 838 00:23:57,069 --> 00:23:58,070 >> KICK THE DOORS DOWN. 839 00:23:58,070 --> 00:23:58,470 >> YEAH. 840 00:23:58,470 --> 00:23:59,371 >> IT WOULD BE FUN. 841 00:23:59,371 --> 00:24:02,474 >> AND HONESTLY, THOSE SHOWS ARE 842 00:24:02,474 --> 00:24:03,876 REALLY FANTASTIC AND THEY REALLY 843 00:24:03,876 --> 00:24:04,476 WORK TOGETHER. 844 00:24:04,476 --> 00:24:05,377 THAT'S THE OTHER PART OF IT. 845 00:24:05,377 --> 00:24:07,980 >> YEAH, IT SEEMS LIKE -- THAT 846 00:24:07,980 --> 00:24:09,782 SEEMED LIKE A GREAT IDEA. 847 00:24:09,782 --> 00:24:12,384 >> AND IF YOU DO A SOFTER 848 00:24:12,384 --> 00:24:13,886 SOUNDING RECORD LIKE FADE, YOU 849 00:24:13,886 --> 00:24:21,393 HAVEN'T FORGOTTEN YO LA TENGO. 850 00:24:21,393 --> 00:24:23,495 >> YOU MENTIONED THE 851 00:24:23,495 --> 00:24:25,597 TELEGRAPHING, THAT WAS THE ONLY 852 00:24:25,597 --> 00:24:27,800 MISGIVING I HAD -- IS THE IDEA 853 00:24:27,800 --> 00:24:28,801 OF GOING, AND YOU DON'T KNOW 854 00:24:28,801 --> 00:24:30,202 WHAT'S GOING TO HAPPEN, AND THE 855 00:24:30,202 --> 00:24:31,804 FACT THAT WE DID TIP OUR HAND 856 00:24:31,804 --> 00:24:33,205 THAT WAY, IT JUST SEEMED THERE 857 00:24:33,205 --> 00:24:36,141 WAS NO WAY OUT OF IT. 858 00:24:36,141 --> 00:24:37,943 >> BUT THE REALITY IS, WITHIN 859 00:24:37,943 --> 00:24:39,044 THOSE TWO SETS, YOU DON'T KNOW 860 00:24:39,044 --> 00:24:40,245 WHAT'S GOING TO HAPPEN? 861 00:24:40,245 --> 00:24:40,446 >> RIGHT. 862 00:24:40,446 --> 00:24:41,947 >> HAVE YOU GOTTEN TO THE POINT 863 00:24:41,947 --> 00:24:43,649 WHERE YOU THOUGHT YOU DON'T WANT 864 00:24:43,649 --> 00:24:44,750 TO DO THIS ANYMORE? 865 00:24:44,750 --> 00:24:47,052 MY SUSPICION WITH THE TWO OF 866 00:24:47,052 --> 00:24:51,056 YOU, THEY'RE GOING TO MOVE THE 867 00:24:51,056 --> 00:24:52,358 GUITAR AND DRUMSTICKS FROM YOUR 868 00:24:52,358 --> 00:24:54,460 DEAD HANDS. 869 00:24:54,460 --> 00:24:57,463 BUT DOES THERE COME A TIME THAT 870 00:24:57,463 --> 00:24:59,264 YOU'RE NOT GOING TO DO THIS? 871 00:24:59,264 --> 00:24:59,765 NO? 872 00:24:59,765 --> 00:25:01,166 >> WE'VE NEVER THOUGHT ABOUT IT 873 00:25:01,166 --> 00:25:02,768 ONE WAY OR THE OTHER. WE DIDN'T 874 00:25:02,768 --> 00:25:04,069 START OUT FIVE YEARS, AND THEN 875 00:25:04,069 --> 00:25:05,371 WE'LL GET REAL JOBS. 876 00:25:05,371 --> 00:25:07,072 WE MIGHT HAVE TOLD OUR PARENTS 877 00:25:07,072 --> 00:25:07,172 THAT. 878 00:25:07,172 --> 00:25:08,774 THAT WAS NOT OUR PLAN. 879 00:25:08,774 --> 00:25:09,875 WE NEVER HAD A PLAN. 880 00:25:09,875 --> 00:25:10,376 >> YEAH. 881 00:25:10,376 --> 00:25:12,177 >> SO WHY START NOW? 882 00:25:12,177 --> 00:25:13,779 >> RIGHT. 883 00:25:13,779 --> 00:25:14,380 IS THAT FAIR? 884 00:25:14,380 --> 00:25:15,881 >> THAT'S TOTALLY FAIR. 885 00:25:15,881 --> 00:25:20,886 >> I LIKE ENDING ON NOT HAVING A 886 00:25:20,886 --> 00:25:21,186 PLAN. 887 00:25:21,186 --> 00:25:21,887 THAT'S REALLY GREAT. 888 00:25:21,887 --> 00:25:24,390 IT'S REALLY GREAT TO SIT WITH 889 00:25:24,390 --> 00:25:26,492 YOU GUYS TO CONSIDER WHAT'S COME 890 00:25:26,492 --> 00:25:27,192 BEFORE. 891 00:25:27,192 --> 00:25:28,794 IT'S GREAT TO WATCH Y'ALL. 892 00:25:28,794 --> 00:25:33,399 THANK YOU VERY MUCH IRA KAPLAN 893 00:25:33,399 --> 00:25:34,933 AND GEORGIA HUBLEY. 894 00:25:34,933 --> 00:25:36,735 >> WE'D LOVE TO HAVE YOU JOIN US 895 00:25:36,735 --> 00:25:38,637 IN THE STUDIO, VISIT OUR WEBSITE 896 00:25:38,637 --> 00:25:41,340 AT KLRU.ORG/OVERHEARD TO FIND 897 00:25:41,340 --> 00:25:44,042 INVITATIONS TO INTERVIEWS, Q AND 898 00:25:44,042 --> 00:25:45,144 A'S WITH OUR AUDIENCE AND 899 00:25:45,144 --> 00:25:47,346 GUESTS, AND AN ARCHIVE OF PAST 900 00:25:47,346 --> 00:25:47,946 EPISODES. 901 00:25:47,946 --> 00:25:49,848 >> OVER THE YEARS, WE'VE BEEN 902 00:25:49,848 --> 00:25:51,450 ASKED TO LICENSE SONGS TO 903 00:25:51,450 --> 00:25:52,851 COMMERCIALS, WHICH IS NOTHING WE 904 00:25:52,851 --> 00:25:54,453 EVER WANTED ANY PART OF. BUT WE 905 00:25:54,453 --> 00:25:56,054 WERE VERY HAPPY TO WRITE OUR OWN 906 00:25:56,054 --> 00:25:58,457 MUSIC, WRITE ORIGINAL MUSIC FOR 907 00:25:58,457 --> 00:25:58,757 IT. 908 00:25:58,757 --> 00:26:00,559 WE KIND OF DIDN'T WANT TO TAKE A 909 00:26:00,559 --> 00:26:02,761 SONG THAT HAD OTHER MEANING TO 910 00:26:02,761 --> 00:26:13,572 US AND APPLY IT TO STARBUCKS. 911 00:26:13,572 --> 00:26:15,073 >> FUNDING FOR OVERHEARD WITH 912 00:26:15,073 --> 00:26:16,275 EVAN SMITH IS PROVIDED IN PART 913 00:26:16,275 --> 00:26:19,578 BY MFI FOUNDATION, IMPROVING THE 914 00:26:19,578 --> 00:26:20,779 QUALITY OF LIFE WITHIN OUR 915 00:26:20,779 --> 00:26:22,080 COMMUNITY. 916 00:26:22,080 --> 00:26:23,482 AND FROM THE TEXAS BOARD OF 917 00:26:23,482 --> 00:26:25,484 LEGAL SPECIALIZATION, BOARD 918 00:26:25,484 --> 00:26:26,885 CERTIFIED ATTORNEYS IN YOUR 919 00:26:26,885 --> 00:26:29,288 COMMUNITY, EXPERIENCED, 920 00:26:29,288 --> 00:26:30,589 RESPECTED AND TESTED. 921 00:26:30,589 --> 00:26:33,091 ALSO BY HILLCO PARTNERS, TEXAS 922 00:26:33,091 --> 00:26:34,827 GOVERNMENT AFFAIRS CONSULTANCY, 923 00:26:34,827 --> 00:26:36,829 AND ITS GLOBAL HEALTHCARE 924 00:26:36,829 --> 00:26:38,430 CONSULTING BUSINESS UNIT, HILLCO 925 00:26:38,430 --> 00:26:39,531 HEALTH. 926 00:26:39,531 --> 00:26:42,034 AND BY THE ALICE KLEBERG 927 00:26:42,034 --> 00:26:44,336 REYNOLDS FOUNDATION AND VIEWERS 928 00:26:44,336 --> 00:26:44,937 LIKE YOU. 929 00:26:44,937 --> 00:26:47,339 THANK YOU. 930 00:26:47,339 --> 00:27:11,063 [ MUSIC ] 931 00:27:11,063 --> 00:27:14,166 >> THIS WEEK ON OVERHEARD, IRA 932 00:27:14,166 --> 00:27:16,969 KAPLAN AND GEORGIA HUBLEY WITH 933 00:27:16,969 --> 00:27:18,370 YO LA TENGO. 934 00:27:18,370 --> 00:27:20,072 >> TO THE EXTENT THAT I EMBRACE 935 00:27:20,072 --> 00:27:21,874 IT, IT HAS MORE TO DO WITH AN 936 00:27:21,874 --> 00:27:22,374 APPROACH. 937 00:27:22,374 --> 00:27:23,575 WE DIDN'T KNOW HOW TO PLAY THE 938 00:27:23,575 --> 00:27:25,377 SONGS WE PLAYED THE FIRST TIME, 939 00:27:25,377 --> 00:27:26,778 WE SHOULD HAVE JUST REALLY 940 00:27:26,778 --> 00:27:27,779 WORKED ON THOSE SONGS. 941 00:27:27,779 --> 00:27:29,081 >> YEAH, RIGHT. 942 00:27:29,081 --> 00:27:29,781 >> BUT WE DIDN'T. 943 00:27:29,781 --> 00:27:32,084 WE JUST RIGHT FROM THE BEGINNING 944 00:27:32,084 --> 00:27:33,085 SET THIS GOAL THAT EVERY SHOW 945 00:27:33,085 --> 00:27:34,086 WOULD BE DIFFERENT.