WEBVTT 00:01.802 --> 00:03.904 >> FUNDING FOR OVERHEARD WITH 00:03.904 --> 00:05.105 EVAN SMITH IS PROVIDED IN PART 00:05.105 --> 00:09.109 BY MFI FOUNDATION, IMPROVING THE 00:09.109 --> 00:10.310 QUALITY OF LIFE WITHIN OUR 00:10.310 --> 00:11.912 COMMUNITY, AND FROM THE TEXAS 00:11.912 --> 00:13.714 BOARD OF LEGAL SPECIALIZATION, 00:13.714 --> 00:15.215 BOARD CERTIFIED ATTORNEYS IN 00:15.215 --> 00:17.818 YOUR COMMUNITY, EXPERIENCED, 00:17.818 --> 00:19.519 RESPECTED AND TESTED. 00:19.519 --> 00:21.922 ALSO BY HILLCO PARTNERS, TEXAS 00:21.922 --> 00:24.524 GOVERNMENT AFFAIRS CONSULTANCY, 00:24.524 --> 00:26.627 AND ITS GLOBAL HEALTH CARE 00:26.627 --> 00:28.328 CONSULTING BUSINESS UNIT, HILLCO 00:28.328 --> 00:29.129 HEALTH. 00:29.129 --> 00:33.433 AND BY THE THE ALICE KLEBERG 00:33.433 --> 00:35.769 REYNOLDS FOUNDATION AND VIEWERS 00:35.769 --> 00:36.370 LIKE YOU. 00:36.370 --> 00:38.972 >> I'M EVAN SMITH. HUSBAND AND 00:38.972 --> 00:42.876 WIFE, 00:42.876 --> 00:44.578 THIRTEENTH STUDIO ALBUM, FADE, 00:44.578 --> 00:46.179 WAS RELEASED LAST YEAR. 00:46.179 --> 00:49.483 THEY'RE IRA KAPLAN AND GEORGIA 00:49.483 --> 00:50.684 HUBLEY, THIS IS OVERHEARD. 00:50.684 --> 00:52.786 >> ACTUALLY, THERE'S NOT TWO 00:52.786 --> 00:54.087 SIDES TO EVERY ISSUE. 00:54.087 --> 00:55.589 >> I GUESS WE CAN'T FIRE HIM 00:55.589 --> 00:55.789 NOW. 00:55.789 --> 00:57.090 >> I GUESS WE CAN'T FIRE HIM 00:57.090 --> 00:57.391 NOW. 00:57.391 --> 00:58.992 THE NIGHT THEY WIN AN EMMY. 00:58.992 --> 01:00.594 >> BEING ON THE SUPREME COURT 01:00.594 --> 01:02.496 WAS AN IMPROBABLE DREAM. 01:02.496 --> 01:03.797 IT'S HARD WORK AND IT'S 01:03.797 --> 01:04.798 CONTROVERSIAL. 01:04.798 --> 01:06.400 >> WITHOUT INFORMATION, THERE IS 01:06.400 --> 01:08.802 NO FREEDOM, AND IT'S JOURNALISTS 01:08.802 --> 01:09.603 WHO PROVIDE THAT INFORMATION. 01:09.603 --> 01:11.204 >> WINDOW ROLLS DOWNED AND THIS 01:11.204 --> 01:19.613 GUY SAYS, HEY, HE GOES UNTIL 11. 01:19.613 --> 01:21.515 [ LAUGHTER ] 01:21.515 --> 01:26.520 >> IRA, GEORGIA, WELCOME. 01:26.520 --> 01:27.421 NICE TO SEE YOU BOTH. 01:27.421 --> 01:28.221 >> THANK YOU. 01:28.221 --> 01:30.223 >> DECEMBER OF THIS YEAR IS 30 01:30.223 --> 01:31.925 YEARS SINCE THE BAND -- 01:31.925 --> 01:33.427 >> YEAH. HOW IS THAT POSSIBLE? 01:33.427 --> 01:34.661 YOU LOOK THE SAME AGE. 01:34.661 --> 01:36.663 I USED TO SEE YOU WHEN I WAS AT 01:36.663 --> 01:36.964 COLLEGE. 01:36.964 --> 01:38.465 YOU SEEM EXACTLY THE SAME. 01:38.465 --> 01:41.468 IT CANNOT BE 30 YEARS. 01:41.468 --> 01:42.669 >> WELL, THAT'S ONE OF THE 01:42.669 --> 01:44.571 ADVANTAGES OF NEVER GOING AWAY 01:44.571 --> 01:46.073 IS BECAUSE WE CHANGE SLOWLY. 01:46.073 --> 01:47.874 IF YOU LOOK AT THE PICTURE FROM 01:47.874 --> 01:49.476 30 YEARS AGO... 01:49.476 --> 01:50.777 >> I WOULD SEE DIFFERENCES? 01:50.777 --> 01:53.580 >> LIKE THE FROG AND THE FRYING 01:53.580 --> 01:53.680 PAN. 01:53.680 --> 01:54.381 >> EXACTLY. 01:54.381 --> 01:55.983 >> DOES IT FEEL TO YOU LIKE 30 01:55.983 --> 01:58.085 YEARS ON THE ROAD, 30 YEARS OF 01:58.085 --> 01:59.386 MAKING RECORDS? 01:59.386 --> 02:00.287 IT GOES BY FAST. 02:00.287 --> 02:01.488 >> IT GOES BY FAST. 02:01.488 --> 02:02.689 BUT YOU START TO GET TO THAT 02:02.689 --> 02:03.991 POINT WHERE YOU HAVE A HARD TIME 02:03.991 --> 02:05.993 REMEMBERING THINGS AS YOU GO 02:05.993 --> 02:06.393 BACK. 02:06.393 --> 02:07.894 YOU KNOW, I CAN REMEMBER THINGS 02:07.894 --> 02:09.997 IN THE LAST FIVE YEARS, BUT 02:09.997 --> 02:11.098 THEN -- 02:11.098 --> 02:12.399 >> IF I ASKED YOU TO PLUCK OUT 02:12.399 --> 02:14.101 SOME STORY OR SOME MEMORY FROM 02:14.101 --> 02:15.902 1987, THAT'S PROBABLY NOT A GOOD 02:15.902 --> 02:16.403 STRATEGY? 02:16.403 --> 02:18.005 >> WELL, I'VE BEEN DOING THAT, 02:18.005 --> 02:18.605 ACTUALLY. 02:18.605 --> 02:20.307 I MEAN, I TOOK IT UPON MYSELF 02:20.307 --> 02:22.109 TO -- ON OUR WEBSITE TO POST A 02:22.109 --> 02:25.212 STORY FROM EVERY DAY OF THIS 02:25.212 --> 02:27.914 YEAR, LEADING UP TO -- SO SOME 02:27.914 --> 02:29.616 OF THEM DO GO BACK TO THE VERY 02:29.616 --> 02:32.119 BEGINNING, THOSE THAT ARE -- 02:32.119 --> 02:35.656 KIND OF BE MORE CAUTIONARY 02:35.656 --> 02:35.956 TALES. 02:35.956 --> 02:38.458 >> AND OF INTEREST TO THE FANS. 02:38.458 --> 02:39.359 >> HOPEFULLY. 02:39.359 --> 02:40.861 >> I NOTICED, FOR INSTANCE, THIS 02:40.861 --> 02:43.163 WEEK YOU REMARKED ON THE RELEASE 02:43.163 --> 02:45.766 OF AUTUMN SWEATER WAS 17 YEARS 02:45.766 --> 02:46.466 AGO TO THE DAY. 02:46.466 --> 02:49.970 >> NOT NORMALLY THAT 02:49.970 --> 02:54.675 INFORMATIVE, TODAY'S WAS JUST 02:54.675 --> 02:57.577 PLAYING ON THE FIRST DAY OF 02:57.577 --> 02:58.078 PASSOVER. 02:58.078 --> 02:59.579 >> SO MUCH OF THE WORLD HAS 02:59.579 --> 03:01.081 CHANGED, SO MUCH ABOUT THE MUSIC 03:01.081 --> 03:02.382 BUSINESS HAS CHANGED, YOU WERE 03:02.382 --> 03:03.884 ALWAYS, AND STRIKE ME STILL, AS 03:03.884 --> 03:05.786 DIY PEOPLE. YOU KIND OF TAKE 03:05.786 --> 03:07.287 CARE OF YOURSELVES, YOU THINK 03:07.287 --> 03:09.289 ABOUT YOUR MUSIC, YOUR BUSINESS, 03:09.289 --> 03:10.691 YOURSELVES, BUT THE WHOLE 03:10.691 --> 03:12.292 CONCEPT OF LABELS AND THE WHOLE 03:12.292 --> 03:14.694 CONCEPT OF DISTRIBUTION AND 03:14.694 --> 03:16.697 EVERYTHING HAS KIND OF BLOWN UP 03:16.697 --> 03:17.397 AND REBUILT. 03:17.397 --> 03:22.602 HOW HAS THAT IMPACTED YOUR LIVES 03:22.602 --> 03:24.704 AS MUSICIANS, IF AT ALL? 03:24.704 --> 03:26.807 >> I'M NEVER SURE HOW TO ANSWER 03:26.807 --> 03:27.307 THAT QUESTION. 03:27.307 --> 03:29.509 WE ARE SO SELF-CONTAINED I DON'T 03:29.509 --> 03:31.311 FEEL -- THERE'S BEEN TIMES I'VE 03:31.311 --> 03:33.513 ARGUED WHERE WE'RE NOT EVEN IN 03:33.513 --> 03:34.748 THE MUSIC BUSINESS. 03:34.748 --> 03:35.348 >> EXPLAIN. 03:35.348 --> 03:36.950 >> WELL, WE HAVE THE ADVANTAGE 03:36.950 --> 03:37.851 AND THE OPPORTUNITY TO PLAY FOR 03:37.851 --> 03:40.754 EACH OTHER, AND LUCKILY, THERE'S 03:40.754 --> 03:44.558 AN AUDIENCE OUT THERE, A 03:44.558 --> 03:47.761 PETITION AUDIENCE, BUT WE DON'T 03:47.761 --> 03:49.563 SPEND A LOT OF TIME STRATEGIZING 03:49.563 --> 03:53.266 OVER MP3S VERSUS DOWNLOAD VERSUS 03:53.266 --> 03:53.867 VINYL. 03:53.867 --> 03:55.168 WE JUST KIND OF -- IT'S ONE OF 03:55.168 --> 03:56.470 THE PLEASURES OF BEING 03:56.470 --> 03:58.572 ASSOCIATED WITH MATADOR 03:58.572 --> 04:05.979 RECORDS, WHO WE'VE BEEN WITH FOR 04:05.979 --> 04:06.780 OVER 20 YEARS. 04:06.780 --> 04:08.181 WE LIKE THEM AS FRIENDS, WE 04:08.181 --> 04:09.783 RESPECT THEM AS LISTENERS, AND 04:09.783 --> 04:11.685 WE GET TO MAKE MUSIC AND WRITE 04:11.685 --> 04:12.986 SONGS, AND THEY GET TO THINK 04:12.986 --> 04:14.187 ABOUT THE MUSIC BUSINESS. 04:14.187 --> 04:15.789 >> GEORGE, I'M INTERESTED IN YOU 04:15.789 --> 04:19.192 SAYING ABOUT IRA SAID YOU PLAY 04:19.192 --> 04:19.893 FOR EACH OTHER. 04:19.893 --> 04:21.294 WE THOUGHT IT WAS ABOUT US. 04:21.294 --> 04:23.296 I'M SLIGHTLY UPSET ABOUT THAT. 04:23.296 --> 04:24.598 >> THIS IS WHERE THE ARGUMENT 04:24.598 --> 04:26.399 COMES IN. 04:26.399 --> 04:28.201 >> SO DISAGREE. 04:28.201 --> 04:28.702 GO AHEAD. 04:28.702 --> 04:29.903 >> THAT'S CRAZY. 04:29.903 --> 04:31.404 >> DO YOU THINK OF IT AS MORE OF 04:31.404 --> 04:33.707 A PERSONAL THING, AND IT JUST 04:33.707 --> 04:34.741 HAPPENS TO BE THAT WE'RE 04:34.741 --> 04:36.643 WITNESSING IT OR OVERHEARING IT? 04:36.643 --> 04:38.445 >> I THINK IT'S THE -- YOU KNOW, 04:38.445 --> 04:40.046 THE SUCCESS, SUCH AS IT IS, THAT 04:40.046 --> 04:42.048 THIS BAND HAS HAD, HOWEVER YOU 04:42.048 --> 04:44.351 DESCRIBE THAT -- 04:44.351 --> 04:44.951 >> YEAH. 04:44.951 --> 04:47.154 >> -- I THINK IS, WE DO 04:47.154 --> 04:48.555 BASICALLY FOLLOW WHAT WE WANT TO 04:48.555 --> 04:49.756 DO AND FOLLOW THE KIND OF -- YOU 04:49.756 --> 04:52.359 KNOW, INSTINCTIVELY WHAT WE WANT 04:52.359 --> 04:54.461 TO PLAY MUSICALLY, AND WHEN 04:54.461 --> 04:55.862 PEOPLE RESPOND, IT'S GREAT. 04:55.862 --> 04:58.365 BUT WE STILL KIND OF BASICALLY 04:58.365 --> 05:00.567 DO WHAT WE WANT AND WHAT WE 05:00.567 --> 05:02.269 RESPOND TO AS, YOU KNOW, NOT 05:02.269 --> 05:03.970 JUST THE TWO OF US, BUT THE 05:03.970 --> 05:05.872 THREE OF US, AND -- 05:05.872 --> 05:07.073 >> RIGHT. 05:07.073 --> 05:10.177 >> -- I'M SURE WE'VE ALIENATED 05:10.177 --> 05:11.478 PEOPLE ALONG THE WAY, BUT I 05:11.478 --> 05:13.180 THINK WE'VE APPEALED TO PEOPLE, 05:13.180 --> 05:13.580 TOO. 05:13.580 --> 05:15.282 >> HAS THERE BEEN PRESSURE ON 05:15.282 --> 05:18.985 YOU, GEORGIA, OR YOU, IRA, TO 05:18.985 --> 05:20.387 CHANGE WHAT YOU WERE DOING AT 05:20.387 --> 05:22.189 THE TIME OR TO SOMEHOW BE MORE 05:22.189 --> 05:23.190 COMMERCIAL? 05:23.190 --> 05:26.193 THAT'S THE WORD THAT GETS THROWN 05:26.193 --> 05:26.493 AROUND. 05:26.493 --> 05:28.495 >> I WOULDN'T SAY THAT SO MUCH. 05:28.495 --> 05:30.297 BUT GOING BACK AS FAR AS 1990, 05:30.297 --> 05:32.199 WE MADE OUR RECORD IN 1989 05:32.199 --> 05:34.134 CALLED PRESIDENT YO LA TENGO, 05:34.134 --> 05:35.535 AND IT WAS THE FIRST RECORD 05:35.535 --> 05:39.439 WHICH HAD AN EXTENDED NOISY 05:39.439 --> 05:41.341 GUITAR THING, AND IT GOT MORE 05:41.341 --> 05:42.742 ATTENTION THAN ANYTHING WE'D 05:42.742 --> 05:43.243 DONE BEFORE. 05:43.243 --> 05:45.345 AND SIX MONTHS LATER, WE HAD NO 05:45.345 --> 05:46.746 BASE PLAYER AGAIN, WHICH WAS 05:46.746 --> 05:49.049 KIND OF A RUNNING THEME OF OUR 05:49.049 --> 05:51.852 EARLY YEARS, UNTIL WE MET JAMES. 05:51.852 --> 05:54.955 SO WE MADE -- WE DECIDED TO MAKE 05:54.955 --> 05:58.258 A FOLKY COVERS RECORD. 05:58.258 --> 05:58.658 >> RIGHT. 05:58.658 --> 06:00.160 >> AND THE GUY WHO OWNED 06:00.160 --> 06:02.162 MAXWELL'S, AND WORKED VERY 06:02.162 --> 06:03.563 CLOSELY TO US, THOUGHT WE WERE 06:03.563 --> 06:04.264 CRAZY. 06:04.264 --> 06:06.066 HE SAID, PEOPLE FINALLY KNOW YOU 06:06.066 --> 06:07.968 A LITTLE BIT, KNOW WHAT TO 06:07.968 --> 06:09.069 EXPECT FROM THE BAND, AND YOU'RE 06:09.069 --> 06:10.670 DOING SOMETHING COMPLETELY 06:10.670 --> 06:10.870 DIFFERENT. 06:10.870 --> 06:11.271 >> RIGHT. 06:11.271 --> 06:12.973 >> AND WE WEREN'T DOING IT TO BE 06:12.973 --> 06:13.273 DIFFERENT. 06:13.273 --> 06:15.075 WE WEREN'T LIKE, OH, WE'LL MESS 06:15.075 --> 06:15.775 WITH THEM NOW. 06:15.775 --> 06:17.277 IT JUST SEEMED LIKE, WELL, 06:17.277 --> 06:19.079 WE'VE -- THERE'S ONLY THE TWO OF 06:19.079 --> 06:19.379 US -- 06:19.379 --> 06:20.380 >> LET'S JUST DO THIS? 06:20.380 --> 06:21.681 >> -- LET'S DO THIS. 06:21.681 --> 06:22.082 >> RIGHT. 06:22.082 --> 06:24.084 >> AND IT TURNED OUT TO BE OUR 06:24.084 --> 06:27.387 RECORD FAKEBOOK, WHICH IS -- FAR 06:27.387 --> 06:28.888 AND AWAY GOT US THE MOST 06:28.888 --> 06:31.291 ATTENTION WE HAD GOT AT THAT 06:31.291 --> 06:31.491 MOMENT. 06:31.491 --> 06:31.791 >> YEAH. 06:31.791 --> 06:33.493 >> AND I THINK IT HELPED CEMENT 06:33.493 --> 06:34.728 THE NOTION THAT JUST LISTEN TO 06:34.728 --> 06:37.030 WHATEVER FEELS RIGHT. 06:37.030 --> 06:37.530 >> YEAH. 06:37.530 --> 06:38.431 >> NO MATTER -- 06:38.431 --> 06:40.634 >> IT'S ALWAYS SO HEARTENING TO 06:40.634 --> 06:42.035 HEAR ONE OF THE THINGS THAT YOU 06:42.035 --> 06:44.237 WANTED TO DO, OR I'M GOING TO DO 06:44.237 --> 06:45.138 THIS DESPITE WHAT THE 06:45.138 --> 06:46.539 CONSEQUENCES ARE, AND THE 06:46.539 --> 06:47.841 CONSEQUENCES ARE GOOD. 06:47.841 --> 06:48.742 IT'S A NICE THING. 06:48.742 --> 06:49.142 >> YEAH. 06:49.142 --> 06:50.944 >> IT HAS INTEGRITY 06:50.944 --> 06:52.345 ARTISTICALLY. 06:52.345 --> 06:54.848 >> IT GIVES YOU THE STRENGTH AND 06:54.848 --> 06:56.149 THE CONFIDENCE, WELL, THAT KIND 06:56.149 --> 06:56.950 OF WORKED. 06:56.950 --> 06:58.451 LET'S TRY THAT AND LET'S FOLLOW 06:58.451 --> 06:59.252 OUR INSTINCTS. 06:59.252 --> 07:03.156 >> NOW, IRA SAYS YOU DON'T CARE 07:03.156 --> 07:07.360 ABOUT MP3, AND I GET THAT, AND I 07:07.360 --> 07:08.762 I BELIEVE THAT. BUT IN REALITY, 07:08.762 --> 07:10.964 TECHNOLOGY HAS BECOME WHAT 07:10.964 --> 07:13.366 CONTROLS ALL DISTRIBUTION OF 07:13.366 --> 07:15.869 MUSIC, SO ACCESS TO MUSIC IS 07:15.869 --> 07:18.071 GREATER OR PERVASIVE THAN IT'S 07:18.071 --> 07:18.672 EVER BEEN. 07:18.672 --> 07:20.373 ARE YOU OF THE SORT, GEORGIA, OF 07:20.373 --> 07:21.675 PEOPLE GETTING ACCESS TO YOUR 07:21.675 --> 07:23.276 MUSIC FOR FREE OR THE SERVICES 07:23.276 --> 07:24.778 THAT STREAM YOUR MUSIC, WE DON'T 07:24.778 --> 07:26.279 LIKE THOSE GUYS, THEY'RE JUST 07:26.279 --> 07:28.682 TRYING TO RIP US OFF? WHAT'S 07:28.682 --> 07:30.684 YOUR DISTRIBUTION TOWARDS THAT? 07:30.684 --> 07:34.387 >> WELL, IT'S TRICKY, BECAUSE 07:34.387 --> 07:35.789 YOU WANT TO MAKE A LIVING DOING 07:35.789 --> 07:39.793 THIS. IT WOULD BE NICE IF 07:39.793 --> 07:40.994 PEOPLE ACTUALLY BOUGHT THE 07:40.994 --> 07:41.294 MUSIC. 07:41.294 --> 07:43.296 >> THAT'S THE THEORY, ANYWAY. 07:43.296 --> 07:44.497 >> BUT ON THE OTHER HAND, 07:44.497 --> 07:47.801 THERE'S KIND OF NOTHING YOU CAN 07:47.801 --> 07:48.501 DO ABOUT IT. 07:48.501 --> 07:49.502 I HATE TO SAY THAT. 07:49.502 --> 07:51.104 IT'S A FINE LINE OF ACCEPTING 07:51.104 --> 07:52.505 THINGS THAT YOU CAN'T REALLY 07:52.505 --> 07:53.506 CONTROL AND KIND OF WHAT THE 07:53.506 --> 07:54.507 OTHER SIDE IS. 07:54.507 --> 07:54.908 >> RIGHT. 07:54.908 --> 07:57.310 YOU FEEL POWERLESS, TO BOW 07:57.310 --> 08:00.914 BEFORE THE GODS OF... 08:00.914 --> 08:02.615 >> I JUST DON'T -- WE'RE PRETTY 08:02.615 --> 08:05.518 SUCCESSFUL NOT THINKING ABOUT 08:05.518 --> 08:05.819 IT. 08:05.819 --> 08:06.319 IT'S JUST -- 08:06.319 --> 08:07.821 >> I WISH YOU COULD TEACH THAT. 08:07.821 --> 08:08.521 THAT'S AWESOME. 08:08.521 --> 08:09.723 >> YOU KNOW, WHAT ARE YOU GOING 08:09.723 --> 08:10.223 TO DO? 08:10.223 --> 08:14.027 AND SO, YOU KNOW, IT JUST -- I 08:14.027 --> 08:15.929 MEAN, I THINK LONG AGO, ANOTHER 08:15.929 --> 08:18.131 THING WE JUST -- ONE OF THE 08:18.131 --> 08:21.034 THINGS I LOOKED AT FROM OTHER 08:21.034 --> 08:22.335 BANDS IS I JUST SAW PEOPLE 08:22.335 --> 08:27.040 GETTING BITTER ABOUT ANYTHING. 08:27.040 --> 08:28.341 IT COULD BE ABOUT NOBODY'S 08:28.341 --> 08:29.843 BUYING MY RECORDS NOW, OR IT 08:29.843 --> 08:31.244 COULD BE ABOUT, YOU KNOW, WE'RE 08:31.244 --> 08:32.946 NOT AS SUCCESSFUL AS THIS OTHER 08:32.946 --> 08:34.781 BAND WHO IS SO MUCH WORSE THAN 08:34.781 --> 08:35.081 US. 08:35.081 --> 08:37.183 AND IT JUST SEEMED TO BE 08:37.183 --> 08:39.986 DERAILING THEIR CREATIVITY. 08:39.986 --> 08:41.388 AND WE JUST TRIED TO -- 08:41.388 --> 08:41.988 >> RIGHT. 08:41.988 --> 08:43.790 >> -- NOT -- I MEAN, THERE'S 08:43.790 --> 08:47.293 ALWAYS GREAT THINGS HAPPENING, 08:47.293 --> 08:49.796 AND IT -- TO THE POINT THAT EVEN 08:49.796 --> 08:51.097 YOU SAY TO GET THE POSITIVE 08:51.097 --> 08:52.999 REINFORCEMENT OF IT, WORKING 08:52.999 --> 08:55.201 WITH FAKEBOOK, BUT I THINK WE 08:55.201 --> 08:56.803 TAKE ALMOST AS MUCH PLEASURE 08:56.803 --> 08:58.505 WHEN IT DOESN'T WORK, AND WE 08:58.505 --> 08:59.906 KNOW WE DID WHAT WE WANTED, 08:59.906 --> 09:00.507 AND -- 09:00.507 --> 09:03.209 >> NOT A FORM OF MASOCHISM, IT'S 09:03.209 --> 09:04.811 JUST WE KNOW WHO WE ARE, AND 09:04.811 --> 09:05.311 THAT'S IT. 09:05.311 --> 09:06.012 >> YEAH. 09:06.012 --> 09:06.613 IT'S GREAT. 09:06.613 --> 09:08.114 WE'RE VERY HAPPY WHEN PEOPLE 09:08.114 --> 09:10.016 ENJOY WHAT WE DO, BUT IF WE DO 09:10.016 --> 09:10.817 SOMETHING THAT -- 09:10.817 --> 09:11.217 >> YEAH. 09:11.217 --> 09:12.619 >> AND THEN IF YOU DON'T -- IF 09:12.619 --> 09:15.422 YOU CAN REALIZE THAT IT -- YOU 09:15.422 --> 09:16.923 KNOW, IT'S NOT A CRIPPLING 09:16.923 --> 09:18.525 EVENT, YOU CAN MOVE ON FROM 09:18.525 --> 09:19.526 WHATEVER -- 09:19.526 --> 09:21.628 >> AND IT MAKES YOU LESS FREAKED 09:21.628 --> 09:22.929 OUT ABOUT IT THE NEXT TIME? 09:22.929 --> 09:23.430 >> YEAH. 09:23.430 --> 09:24.130 HOPEFULLY. 09:24.130 --> 09:24.431 YEAH. 09:24.431 --> 09:26.132 >> YOU MENTIONED MAXWELL'S, FOR 09:26.132 --> 09:27.734 THE AUDIENCE OUT IN THE WORLD 09:27.734 --> 09:30.537 NOT IN HOBOKEN OR NOT IN NEW 09:30.537 --> 09:33.239 YORK, MAXWELL'S WAS A FANTASTIC 09:33.239 --> 09:35.675 CLUB IN HOBOKEN, NEW JERSEY. I 09:35.675 --> 09:36.976 DON'T KNOW HOW MANY TIMES I TOOK 09:36.976 --> 09:39.179 THE TRAIN OVER FROM NEW YORK 09:39.179 --> 09:40.280 WHEN I WAS A MUCH YOUNGER 09:40.280 --> 09:41.881 VERSION OF MYSELF TO SEE YOU ALL 09:41.881 --> 09:44.784 AND OTHER PEOPLE PLAY AT 09:44.784 --> 09:46.586 MAXWELL'S, AND IT WAS KIND OF 09:46.586 --> 09:47.187 YOUR HOME BASE. 09:47.187 --> 09:48.888 WHAT'S HAPPENED OVER THE 30 09:48.888 --> 09:50.590 YEARS IS THAT THE WHOLE CLUB 09:50.590 --> 09:54.294 SCENE, BOTH IF -- THE LOCUS OF 09:54.294 --> 09:55.995 CLUBS AND THE EXISTENCE OF CLUBS 09:55.995 --> 09:57.597 THAT WERE PROBABLY PART OF YOUR 09:57.597 --> 09:58.698 LIVES FOREVER AND FOREVER, 09:58.698 --> 10:00.200 THAT'S CHANGED. 10:00.200 --> 10:01.100 SO TALK ABOUT THAT. 10:01.100 --> 10:02.802 ALL THE OLD HAUNTS AREN'T 10:02.802 --> 10:04.103 NECESSARILY AROUND ANYMORE. 10:04.103 --> 10:05.805 DO YOU FIND NEW PLACES? 10:05.805 --> 10:08.508 >> WELL, I MEAN, TO AN EXTENT. 10:08.508 --> 10:09.809 CERTAINLY FOR US, THAT'S THE 10:09.809 --> 10:10.009 CASE. 10:10.009 --> 10:11.911 MAXWELL'S WAS A PLACE THAT I DID 10:11.911 --> 10:12.112 SOUND. 10:12.112 --> 10:14.514 >> YOU WENT BACK PRE-YO LA 10:14.514 --> 10:14.814 TENGO. 10:14.814 --> 10:15.615 >> OH, YEAH. 10:15.615 --> 10:17.317 WE BOTH DID. 10:17.317 --> 10:19.719 GEORGIA WAS A DJ THERE, AND WE 10:19.719 --> 10:21.020 WERE THERE ALL THE TIME. AND SO 10:21.020 --> 10:22.522 IT WAS VERY NATURAL THAT WHEN WE 10:22.522 --> 10:24.824 PERFORMED OUR FIRST SHOW WAS, WE 10:24.824 --> 10:27.627 JUST THREW A PARTY THERE. 10:27.627 --> 10:29.829 THE OWNER LET US USE THE BACK 10:29.829 --> 10:30.730 ROOM TO HAVE A PARTY. 10:30.730 --> 10:32.532 WE PLAYED, I THINK IT WAS LIKE 10:32.532 --> 10:33.933 SEVEN TIMES WITHIN THE FIRST 10:33.933 --> 10:35.468 THREE MONTHS IN THE SAME CLUB, 10:35.468 --> 10:36.970 WHICH -- YOU KNOW, UNTIL WE 10:36.970 --> 10:40.373 START DOING HANUKKAH SHOWS AND 10:40.373 --> 10:41.875 PLAYED EIGHT TIMES IN EIGHT 10:41.875 --> 10:44.978 DAYS, IT SEEMED RIDICULOUS TO 10:44.978 --> 10:46.779 PLAY -- BUT IT WAS THAT ERA WHEN 10:46.779 --> 10:47.981 YOU COULD PLAY ALL THE TIME IN 10:47.981 --> 10:48.581 ONE PLACE. 10:48.581 --> 10:49.983 NOW, FOR ALL I KNOW, THAT'S 10:49.983 --> 10:51.384 GOING ON IN BROOKLYN RIGHT NOW 10:51.384 --> 10:53.586 AND YOUNGER BANDS HAVE THAT SAME 10:53.586 --> 10:54.888 RELATIONS. 10:54.888 --> 10:56.389 >> YEAH, IT PROBABLY HAPPENS ALL 10:56.389 --> 10:56.789 OVER THE WORLD. 10:56.789 --> 10:59.492 >> DO YOU EVER TOTAL UP IN YOUR 10:59.492 --> 11:00.793 MINDS OR ON PAPER HOW MANY TIMES 11:00.793 --> 11:02.595 YOU PLAYED AT MAXWELL'S? 11:02.595 --> 11:04.197 >> I TRIED AT ONE POINT. 11:04.197 --> 11:05.698 I TRIED TO ADD IT UP AND IT 11:05.698 --> 11:05.999 WAS -- 11:05.999 --> 11:07.000 >> TOO DEPRESSING? 11:07.000 --> 11:09.102 >> NO, VERY HAPPY. 11:09.102 --> 11:12.105 >> I THINK OF YOU AS A TOURING 11:12.105 --> 11:13.306 BAND THAT HAPPENS TO RECORD 11:13.306 --> 11:14.807 RATHER THAN A BAND THAT RECORDS 11:14.807 --> 11:17.110 MUSIC AND PUTS IT OUT AND TOURS 11:17.110 --> 11:17.810 TO SUPPORT THAT. 11:17.810 --> 11:20.113 IS THAT A FAIR CHARACTERIZATION? 11:20.113 --> 11:24.417 13 RECORDS IN 30 -- 13 STUDIO 11:24.417 --> 11:26.920 ALBUMS IN 30 YEARS IS NOT SUPER 11:26.920 --> 11:28.721 PROLIFIC. IT'S NOT THAT YOU 11:28.721 --> 11:29.222 NEVER RECORD -- 11:29.222 --> 11:29.622 >> YEAH. 11:29.622 --> 11:31.224 >> -- BUT IT'S NOT LIKE BANDS 11:31.224 --> 11:33.226 THAT PUT OUT A RECORD A YEAR. 11:33.226 --> 11:34.260 DO YOU THINK OF YOURSELF 11:34.260 --> 11:35.862 PRIMARILY AS A BAND THAT TOURS? 11:35.862 --> 11:37.463 >> I DON'T, ACTUALLY, THINK OF 11:37.463 --> 11:38.264 IT THAT WAY. 11:38.264 --> 11:39.566 I THINK IF I THOUGHT OF IT THAT 11:39.566 --> 11:40.967 WAY, I'D NEVER WANT TO TOUR 11:40.967 --> 11:41.167 AGAIN 11:41.167 --> 11:42.068 >> REALLY? 11:42.068 --> 11:43.870 TOO DEPRESSING TO CONTEMPLATE. 11:43.870 --> 11:47.173 >> I THINK IT'S OVERWHELMING. 11:47.173 --> 11:48.975 SO -- BUT I REALLY DO ENJOY IT. 11:48.975 --> 11:50.577 BUT WHEN -- AND I THINK IN A 11:50.577 --> 11:52.378 CERTAIN SENSE, EVEN IN THE LAST 11:52.378 --> 11:54.681 YEAR OR TWO, I ACTUALLY ENJOY IT 11:54.681 --> 11:57.083 AND FEEL LIKE I CAN DO IT MORE 11:57.083 --> 11:58.685 EASILY THAN I USED TO WHEN I WAS 11:58.685 --> 12:00.687 YOUNGER, WHICH, IN A CERTAIN 12:00.687 --> 12:02.088 WAY, MAKES NO SENSE AT ALL. 12:02.088 --> 12:04.090 BUT MAYBE -- MAYBE THERE'S KIND 12:04.090 --> 12:05.992 OF A -- SOMETHING YOU JUST SORT 12:05.992 --> 12:07.594 OF ACCEPT THINGS THAT ARE 12:07.594 --> 12:08.695 HAPPENING AND YOU RELAX MORE 12:08.695 --> 12:10.196 AND -- WHATEVER IT IS. 12:10.196 --> 12:11.197 >> HOW MANY DATES A YEAR WOULD 12:11.197 --> 12:13.299 YOU SAY THAT YOU'RE ON THE ROAD? 12:13.299 --> 12:14.300 >> IT VARIES. 12:14.300 --> 12:17.103 SEE, I DON'T THINK IT'S TRUE 12:17.103 --> 12:19.005 THAT WE'RE -- I THINK WE DO LOTS 12:19.005 --> 12:20.406 OF DIFFERENT THINGS, AND WE'VE 12:20.406 --> 12:25.612 MADE 13 -- FADE IS THE 13TH IN 12:25.612 --> 12:27.914 ANOTHER LIST, BUT ANOTHER LIST 12:27.914 --> 12:29.415 IT COULD BE CLOSER TO 25. 12:29.415 --> 12:30.216 >> RIGHT. 12:30.216 --> 12:31.718 THERE ARE PLENTY OF OTHER THINGS 12:31.718 --> 12:32.518 THAT YOU'VE DONE. 12:32.518 --> 12:32.919 >> YEAH. 12:32.919 --> 12:34.153 AND WE DO LOTS OF RECORDING IN 12:34.153 --> 12:36.055 OUR SPACE, AND LOTS OF THINGS. 12:36.055 --> 12:38.257 I THINK, FOR INSTANCE, WE MADE A 12:38.257 --> 12:41.361 RECORD UNDER A DIFFERENT NAME. 12:41.361 --> 12:43.363 >> CANNOT BE SAID ON PUBLIC 12:43.363 --> 12:43.963 TELEVISION. 12:43.963 --> 12:47.267 >> I'M NOT SURE THAT'S ONE OF 12:47.267 --> 12:47.467 THE 13. 12:47.467 --> 12:48.768 >> THAT WAS A GREAT RECORD. 12:48.768 --> 12:49.869 THAT WAS A RECORD OF COVER 12:49.869 --> 12:50.570 SONGS. 12:50.570 --> 12:50.970 >> THANK YOU. 12:50.970 --> 12:53.172 >> YOU DID A RECORD OF COVER 12:53.172 --> 12:56.276 SONGS, YOU'RE NOT ENJOINED FROM 12:56.276 --> 12:58.077 SAYING THAT, YO LA TENGO 12:58.077 --> 12:59.779 MURDERING THE CLASSICS. IT HAS 12:59.779 --> 13:01.581 A NUMBER OF WONDERFUL SONGS 13:01.581 --> 13:05.284 INCLUDING -- AND IT'S A PERFECT 13:05.284 --> 13:08.688 TRANSITION, IRA, OF THE NEW YORK 13:08.688 --> 13:10.490 THEME SONGS MEET THE METS. IF I 13:10.490 --> 13:11.791 WAS A DIFFERENT KIND OF HOST, I 13:11.791 --> 13:13.292 WOULD DEMAND THAT YOU SING -- 13:13.292 --> 13:14.394 THIS IS ACTUALLY IMPORTANT. 13:14.394 --> 13:16.396 IF YOU GO BACK TO THE ORIGINS OF 13:16.396 --> 13:18.297 THE BAND, THE LEGEND IS, IT 13:18.297 --> 13:19.399 BROUGHT THE TWO OF YOU TOGETHER, 13:19.399 --> 13:25.605 I'M ASSUMING EARLY '80S, LATE 13:25.605 --> 13:28.408 '70S, IS THAT RIGHT? 13:28.408 --> 13:30.009 >> I DON'T KNOW IF THAT'S WHAT 13:30.009 --> 13:30.610 BROUGHT US TOGETHER. 13:30.610 --> 13:32.311 >> YOU HAD IN COMMON? 13:32.311 --> 13:33.112 >> YEAH, YEAH. 13:33.112 --> 13:34.647 >> IF THE STORY IS TRUE, THE 13:34.647 --> 13:36.149 STORIES ALWAYS TOLD ABOUT YOU 13:36.149 --> 13:38.851 ALL, YOU WOULD SEE EACH OTHER AT 13:38.851 --> 13:41.254 SIMILAR SHOWS, YOU KIND OF FOUND 13:41.254 --> 13:42.955 YOURSELF IN A SIMILAR UNIVERSE. 13:42.955 --> 13:43.356 >> YEAH. 13:43.356 --> 13:43.856 >> THAT'S CORRECT? 13:43.856 --> 13:46.259 >> SO THE BAND CAME TOGETHER IN 13:46.259 --> 13:49.162 1984, BUT YOU-ALL WERE TOGETHER 13:49.162 --> 13:51.564 FOR HOW LONG BEFORE THAT? 13:51.564 --> 13:52.065 >> THREE YEARS. 13:52.065 --> 13:52.565 >> YEAH. 13:52.565 --> 13:53.966 >> WERE YOU MARRIED WHEN THE 13:53.966 --> 13:55.468 BAND STARTED OR DID YOU GET 13:55.468 --> 13:57.070 MARRIED LATER? 13:57.070 --> 13:58.271 >> WE GOT MARRIED LATER. 13:58.271 --> 14:00.873 >> IS THE PETER STORY CORRECT, 14:00.873 --> 14:02.275 YOU WERE WRITING NEW YORK 14:02.275 --> 14:03.776 ROCKER, CORRECT, AND THERE WAS A 14:03.776 --> 14:04.777 PARTY AND THE FIRST TIME YOU 14:04.777 --> 14:06.079 EVER PLAYED TOGETHER WAS AT A 14:06.079 --> 14:07.480 PARTY AT THE OFFICES OF NEW YORK 14:07.480 --> 14:07.980 ROCKER? 14:07.980 --> 14:11.584 >> YEAH, THE DB'S -- PETER, A 14:11.584 --> 14:13.486 MEMBER OF THE DB'S, HE USED TO 14:13.486 --> 14:15.488 PLAY AT PARTIES, AND THEY WOULD 14:15.488 --> 14:15.788 WORK UP -- 14:15.788 --> 14:17.490 >> I MEAN, IT'S VERY EASY FOR US 14:17.490 --> 14:18.891 TO TRACE CERTAIN THINGS THAT WE 14:18.891 --> 14:19.192 DO. 14:19.192 --> 14:21.194 OH, YEAH, THIS IS FROM THE DB'S. 14:21.194 --> 14:22.495 THEY WOULD PLAY AT PARTIES AND 14:22.495 --> 14:24.297 THEY'D QUICKLY THROW TOGETHER A 14:24.297 --> 14:26.399 BUNCH OF COVER SONGS, AND IT WAS 14:26.399 --> 14:26.599 GREAT. 14:26.599 --> 14:26.799 >> RIGHT. 14:26.799 --> 14:31.204 >> AND ONE TIME PETER ASKED IF 14:31.204 --> 14:33.706 WE WANTED TO JOIN THEM, AND, 14:33.706 --> 14:35.141 WELL, AT THE TIME, WE HAD JUST 14:35.141 --> 14:38.644 PLAYED TOGETHER IN THE PLAYROOM 14:38.644 --> 14:39.846 OF THE HOUSE I GREW UP IN, YOU 14:39.846 --> 14:42.248 KNOW, WE'D ONCE IN A WHILE -- 14:42.248 --> 14:44.550 WE'D PLAYED FOR NOBODY BUT 14:44.550 --> 14:45.151 OURSELVES. 14:45.151 --> 14:45.952 >> RIGHT. 14:45.952 --> 14:47.053 WERE YOU NECESSARILY INTENDING 14:47.053 --> 14:47.954 TO START A BAND? 14:47.954 --> 14:48.454 >> NO. 14:48.454 --> 14:49.756 >> WE ABSOLUTELY WEREN'T. 14:49.756 --> 14:50.156 >> NO. 14:50.156 --> 14:51.557 >> YOU ABSOLUTELY WERE NOT? 14:51.557 --> 14:53.459 >> RIGHT. 14:53.459 --> 14:54.460 >> LOOK AT THAT. 14:54.460 --> 14:54.961 >> FUNNY. 14:54.961 --> 14:56.662 >> YOUR BACKGROUND, GEORGIA, YOU 14:56.662 --> 14:58.765 ARE ONE OF FOUR CHILDREN OF TWO 14:58.765 --> 15:01.067 VERY FAMOUS ANIMATORS IN 15:01.067 --> 15:07.573 FILMMAKERS, FAITH AND JOHN 15:07.573 --> 15:08.574 HUBLEY. 15:08.574 --> 15:13.179 >> IS THERE A MR. McGOO 15:13.179 --> 15:13.679 CONNECTION? 15:13.679 --> 15:15.581 >> MY DAD STARTED OUT WORKING 15:15.581 --> 15:17.583 FOR WALT DISNEY, AND HE WORKED 15:17.583 --> 15:19.285 ON SOME OF THE DISNEY FILMS, 15:19.285 --> 15:20.086 ACTUALLY. 15:20.086 --> 15:20.586 >> YEAH. 15:20.586 --> 15:23.089 >> AND THEN HE AND A BUNCH OF 15:23.089 --> 15:24.991 OTHER PEOPLE AT DISNEY BECAME 15:24.991 --> 15:26.993 DISENCHANTED WITH THE TRADITIONS 15:26.993 --> 15:28.594 THERE, AND THEY LEFT; STRIKED; 15:28.594 --> 15:31.397 AND THEY FORMED UPA, EVENTUALLY. 15:31.397 --> 15:35.234 AND MR. McGOO IS KIND OF THE 15:35.234 --> 15:36.736 FIRST BIG CHARACTER TO COME OUT 15:36.736 --> 15:37.136 OF THAT. 15:37.136 --> 15:38.738 >> INCREDIBLE. I KNOW THEY WERE 15:38.738 --> 15:40.540 JUST RECENTLY -- THERE WAS A BIG 15:40.540 --> 15:41.841 CELEBRATION OF THEIR LIVES AND 15:41.841 --> 15:42.742 WORK. 15:42.742 --> 15:43.943 >> THERE IS A PROGRAM -- 15:43.943 --> 15:45.144 >> YEAH. 15:45.144 --> 15:46.445 THIS YEAR IS MY DAD'S 15:46.445 --> 15:51.751 CENTENNIAL, SO THERE'S ACTUALLY 15:51.751 --> 15:53.553 A TOURING SHOW FROM THEIR SHOW. 15:53.553 --> 15:55.555 >> YOU COME FROM A VERY CREATIVE 15:55.555 --> 15:56.155 FAMILY. 15:56.155 --> 15:59.158 YOU, IRA, WERE A ROCK CRITIC. 15:59.158 --> 16:00.860 YOU WORKED FOR SOME NEWS PRESS. 16:00.860 --> 16:03.162 >> THE SOHO NEWS. 16:03.162 --> 16:04.564 >> AND YOU'RE A ROCKER. 16:04.564 --> 16:05.364 THERE WAS A LOT OF PEOPLE, 16:05.364 --> 16:07.466 DEFINITION OF A ROCKER, WELL, I 16:07.466 --> 16:08.267 CAN DO THAT BETTER. 16:08.267 --> 16:09.569 THAT WASN'T NECESSARILY THE CASE 16:09.569 --> 16:11.070 IN YOUR SITUATION? 16:11.070 --> 16:11.571 >> NO. 16:11.571 --> 16:12.572 IS THAT WHAT PEOPLE -- 16:12.572 --> 16:13.973 >> I THINK PEOPLE WHO DO 16:13.973 --> 16:15.975 CRITICISM ARE OFTEN THOUGHT TO 16:15.975 --> 16:17.777 BE FRUSTRATED ARTISTS 16:17.777 --> 16:18.277 THEMSELVES. 16:18.277 --> 16:18.778 >> RIGHT. 16:18.778 --> 16:19.979 WELL, I WOULD AGREE WITH THAT. 16:19.979 --> 16:22.181 I MEAN, I WAS A FRUSTRATED 16:22.181 --> 16:22.682 ARTIST. 16:22.682 --> 16:24.083 I JUST DIDN'T THINK I COULD DO 16:24.083 --> 16:24.684 IT BETTER. 16:24.684 --> 16:25.985 >> YOU JUST THOUGHT YOU COULD DO 16:25.985 --> 16:26.085 IT. 16:26.085 --> 16:28.087 >> NO, I'M NOT SURE I THOUGHT I 16:28.087 --> 16:28.588 COULD DO IT. 16:28.588 --> 16:29.388 I JUST WANTED TO. 16:29.388 --> 16:33.493 >> YOU JUST ENVIED THEM. 16:33.493 --> 16:34.527 OBVIOUSLY, YOU HAD SOME POINTS 16:34.527 --> 16:35.828 AND TRADITIONS THAT YOU ALL 16:35.828 --> 16:37.129 FOUND THE OPPORTUNITY TO FOUND A 16:37.129 --> 16:37.530 BAND TOGETHER. 16:37.530 --> 16:38.931 >> WE -- YES. 16:38.931 --> 16:39.832 SOMEHOW IT HAPPENED. 16:39.832 --> 16:40.733 >> SO THE NAME OF THE BAND -- 16:40.733 --> 16:42.535 THIS IS ALWAYS A GREAT STORY FOR 16:42.535 --> 16:43.936 PEOPLE, I'M SURE, ASK YOU ALL 16:43.936 --> 16:45.638 THE TIME. SO WHERE YO LA TENGO 16:45.638 --> 16:46.038 CAME FROM. 16:46.038 --> 16:47.940 IT HAS A CONNECTION BACK TO THE 16:47.940 --> 16:49.041 METS, DOES IT NOT? 16:49.041 --> 16:50.343 >> IT WAS A STORY -- 16:50.343 --> 16:51.244 >> TELL THE STORY. 16:51.244 --> 16:53.446 >> THE STORY HAPPENED IN THEIR 16:53.446 --> 16:55.748 FIRST YEAR, AND -- BUT ANOTHER 16:55.748 --> 16:57.350 PROJECT I UNDERTOOK ON OUR 16:57.350 --> 16:59.252 WEBSITE A COUPLE OF YEARS -- TWO 16:59.252 --> 17:02.755 YEARS AGO, THE 50TH YEAR 17:02.755 --> 17:04.557 ANNIVERSARY OF THE CREATION OF 17:04.557 --> 17:06.659 THE METS, WAS TO TRY TO FIND THE 17:06.659 --> 17:08.761 DAY WHEN THIS STORY, WHICH HAS 17:08.761 --> 17:13.165 TO BE SUPPOSEDLY THE CENTER 17:13.165 --> 17:14.567 FIELDER, IF YOU PLAY ANY 17:14.567 --> 17:16.669 BASEBALL, THE CENTER FIELDER IS 17:16.669 --> 17:17.370 LIKE IN CHARGE. 17:17.370 --> 17:19.872 AND THE BALLS HIT THE AIR, HE 17:19.872 --> 17:20.973 CALLS FOR THE BALL, EVERYONE 17:20.973 --> 17:22.074 GETS OUT OF HIS WAY. 17:22.074 --> 17:23.376 AND SUPPOSEDLY THEIR 17:23.376 --> 17:25.478 SPANISH-SPEAKING SHORTSTOP 17:25.478 --> 17:26.679 DIDN'T UNDERSTAND HIM SAYING 17:26.679 --> 17:29.882 "I'VE GOT IT" AND COLLIDED WITH 17:29.882 --> 17:32.084 HIM, SO HE LEARNED TO SAY IT IN 17:32.084 --> 17:35.788 SPANISH, YO LA TENGO. 17:35.788 --> 17:38.391 THE STORY IS RIDICULOUS. 17:38.391 --> 17:39.392 >> IT CANNOT BE TRUE. 17:39.392 --> 17:40.793 >> IT MUST BE TRUE. 17:40.793 --> 17:42.495 >> IT'S NOT. PLAYING BASEBALL 17:42.495 --> 17:44.997 AND THE CENTER FIELDER YELLS 17:44.997 --> 17:46.299 SOMETHING, THERE'S A VERY SHORT 17:46.299 --> 17:48.801 LIST OF THINGS HE'S YELLING. 17:48.801 --> 17:51.404 >> I'M GOING TO CATCH THIS BALL. 17:51.404 --> 17:52.705 >> RIGHT. 17:52.705 --> 17:53.706 >> NOPE. 17:53.706 --> 17:54.707 THAT'S IT. 17:54.707 --> 17:56.609 IT'S A LIST WITH ONE ITEM. 17:56.609 --> 17:59.612 >> I CHANGED MY MIND. 17:59.612 --> 18:03.916 >> LATIN, JAPANESE, ANYTHING HE 18:03.916 --> 18:05.718 YELLS, THAT'S WHAT HE'S SAYING, 18:05.718 --> 18:07.219 GET OUT OF MY WAY. 18:07.219 --> 18:07.620 >> RIGHT. 18:07.620 --> 18:09.422 >> SO THE STORY CAN'T BE TRUE. 18:09.422 --> 18:11.023 >> AND YET -- 18:11.023 --> 18:12.124 >> BUT IT WAS A GOOD STORY. 18:12.124 --> 18:13.025 >> MAYBE IT HAPPENED. 18:13.025 --> 18:14.727 >> IT'S TAKEN ON THE VENEER OF 18:14.727 --> 18:15.528 LIKE THE TRUTH. 18:15.528 --> 18:18.931 >> YEAH, WHY IT'S BETTER THAN 18:18.931 --> 18:19.131 TRUTH. 18:19.131 --> 18:21.634 >> WHY EVEN MESS WITH IT, RIGHT, 18:21.634 --> 18:22.535 IF THAT'S WHAT IT IS. 18:22.535 --> 18:25.738 >> SO I WANT TO ASK WHO YOUR 18:25.738 --> 18:27.340 INFLUENCES WERE OR MAYBE EARLY 18:27.340 --> 18:29.442 TASTES AS MUSIC FANS THAT MAYBE 18:29.442 --> 18:31.243 SHAPED THE MUSIC THAT YOU 18:31.243 --> 18:31.644 CREATE. 18:31.644 --> 18:32.745 AGAIN WHEN YOU WERE LOOKING FOR 18:32.745 --> 18:34.280 OTHER PEOPLE TO JOIN IN WITH 18:34.280 --> 18:41.487 YOU, I HEARD THE NAMES MISSION 18:41.487 --> 18:45.191 OF BURMA, THAT WOULD PRESUME 18:45.191 --> 18:48.494 SOME OF THE BANDS THAT WERE IN 18:48.494 --> 18:50.396 CONNECTION WITH YOU AT THE TIME. 18:50.396 --> 18:53.199 >> YEAH, I THINK SO -- THOSE -- 18:53.199 --> 18:55.001 I STILL LOVE THOSE BANDS THE 18:55.001 --> 18:56.602 ONES YOU JUST NAMED. 18:56.602 --> 18:57.703 THE DOES -- 18:57.703 --> 19:01.307 >> ANOTHER BIG MAXWELL'S -- THEY 19:01.307 --> 19:02.508 CLAIMED MAXWELL AS THEIR HOME 19:02.508 --> 19:03.509 BASE -- ALSO, PROBABLY. 19:03.509 --> 19:04.610 >> AND THEY WERE THERE WHEN WE 19:04.610 --> 19:10.916 WERE STARTED, HELPFUL IN SORT 19:10.916 --> 19:13.719 OF, YOU KNOW, GETTING US TO SAY 19:13.719 --> 19:14.020 SOMETHING. 19:14.020 --> 19:16.322 HE ACTUALLY RECORDED FIRE AND 19:16.322 --> 19:17.323 ICE IN HIS BASEMENT. 19:17.323 --> 19:18.424 >> OH, IS THAT RIGHT? 19:18.424 --> 19:20.726 >> YEAH. 19:20.726 --> 19:22.128 >> DOES THAT RECORDING EXIST 19:22.128 --> 19:22.528 SOMEWHERE? 19:22.528 --> 19:24.030 >> I DON'T THINK WE CAN FIND IT. 19:24.030 --> 19:25.131 >> THAT WOULD BE ONE OF THOSE 19:25.131 --> 19:27.533 THINGS THAT WOULD BE FANTASTIC 19:27.533 --> 19:28.734 TO FIND OVER THE INTERNET. 19:28.734 --> 19:29.235 >> YEAH. 19:29.235 --> 19:30.836 >> SO YOU LISTEN TO DIFFERENT 19:30.836 --> 19:31.837 KINDS OF MUSIC. 19:31.837 --> 19:34.774 DID YOU LISTEN TO A BASIC ARRAY 19:34.774 --> 19:36.375 OF MUSIC? 19:36.375 --> 19:37.376 DID YOU LISTEN TO THE BANDS THAT 19:37.376 --> 19:38.878 THE REST OF US LISTENED TO AT 19:38.878 --> 19:39.378 THAT POINT? 19:39.378 --> 19:40.880 CONVENTIONAL ROCK AND ROLL 19:40.880 --> 19:41.280 AND -- 19:41.280 --> 19:42.081 >> OH, YEAH. 19:42.081 --> 19:43.883 WE'VE ALWAYS LISTENED TO -- I 19:43.883 --> 19:45.785 THINK WHAT WE WERE -- I THINK WE 19:45.785 --> 19:47.286 WERE LOOKING FOR SOMEBODY WHO 19:47.286 --> 19:49.188 MAY BE -- I'M NOT -- HONESTLY, 19:49.188 --> 19:50.189 I'M NOT SURE. 19:50.189 --> 19:53.692 WE -- THOSE ADS, IT WAS HARD TO 19:53.692 --> 19:54.994 FIND PEOPLE TO PLAY WITH US, 19:54.994 --> 19:56.595 WHICH IS WHY IT REALLY TOOK US 19:56.595 --> 19:58.998 SEVEN YEARS TO GET OUR BAND 19:58.998 --> 19:59.398 GOING. 19:59.398 --> 20:01.100 IT REALLY WASN'T UNTIL JAMES 20:01.100 --> 20:04.303 JOINED IN '91 THAT -- I MEAN, WE 20:04.303 --> 20:04.703 THOUGHT -- 20:04.703 --> 20:06.205 >> YOU HAD A COUPLE OF DIFFERENT 20:06.205 --> 20:08.607 PEOPLE, DAVE SCHRAMM, THAT WENT 20:08.607 --> 20:13.512 ON TO -- 20:13.512 --> 20:14.713 >> BUT WE LEARNED HOW DIFFERENT 20:14.713 --> 20:15.114 IT WAS. 20:15.114 --> 20:17.116 AND THOSE PEOPLE PLAYED WITH US. 20:17.116 --> 20:18.417 BUT WE WEREN'T A BAND. 20:18.417 --> 20:19.919 AND WHEN JAMES JOINED -- 20:19.919 --> 20:21.220 >> YOU DON'T THINK YOU BECAME A 20:21.220 --> 20:25.124 BAND UNTIL JAMES JOINED? 20:25.124 --> 20:26.225 >> WITHOUT A DOUBT. 20:26.225 --> 20:27.426 AND THEN WE STARTED PRACTICING 20:27.426 --> 20:28.728 AND PLAYING ALL THE TIME, AND 20:28.728 --> 20:29.929 EVEN IF WE DIDN'T HAVE A SHOW, 20:29.929 --> 20:32.932 WE GOT TOGETHER AND PRACTICED. 20:32.932 --> 20:34.967 AND WE REALLY STARTED -- I MEAN, 20:34.967 --> 20:36.569 LEAPS AND BOUNDS JUST IN THE 20:36.569 --> 20:37.470 CONFIDENCE WE HAD AND -- 20:37.470 --> 20:39.171 >> BUT THERE WERE NO BANDS IN 20:39.171 --> 20:40.473 PARTICULAR OR NO STYLES OF MUSIC 20:40.473 --> 20:42.074 OR NOTHING THAT YOU CAN POINT 20:42.074 --> 20:44.276 BACK TO SAYING WE WERE TRYING TO 20:44.276 --> 20:45.077 EMULATE THIS? 20:45.077 --> 20:46.879 WE REALLY LISTENED OBSESSIVELY 20:46.879 --> 20:48.080 TO THIS AND WE THOUGHT THAT WE 20:48.080 --> 20:49.482 ACTUALLY MIGHT -- OUR IDENTITY 20:49.482 --> 20:52.084 AS A BAND, OUR CREATIVE IDENTITY 20:52.084 --> 20:54.186 MIGHT BE ACTUALLY REFLECTIVE OF 20:54.186 --> 20:54.587 THIS? 20:54.587 --> 20:56.489 >> THE ASPECT OF INFLUENCE, IT'S 20:56.489 --> 20:59.291 ALWAYS A WORD I'VE RUN FROM, BUT 20:59.291 --> 21:00.893 TO THE EXTENT THAT I EMBRACE IT, 21:00.893 --> 21:02.495 IT HAS MORE TO DO WITH AN 21:02.495 --> 21:06.799 APPROACH THAN IT DOES WITH -- I 21:06.799 --> 21:08.501 WAS SAYING LIKE THE DB'S HAVE 21:08.501 --> 21:11.303 THESE PARTIES, AND THAT REALLY 21:11.303 --> 21:12.905 DEFINITELY RUBBED OFF, THE WAY 21:12.905 --> 21:14.807 THAT THEY WOULD PLAY SONGS. 21:14.807 --> 21:16.809 EVERY TIME YOU'D SEE THEM, THEY 21:16.809 --> 21:18.010 WOULD PLAY SONGS THAT THEY 21:18.010 --> 21:19.211 DIDN'T DO THE TIME BEFORE. 21:19.211 --> 21:20.713 >> RIGHT. 21:20.713 --> 21:23.115 >> AND THAT, OBVIOUSLY, WAS VERY 21:23.115 --> 21:25.017 MEANINGFUL TO THE WAY WE THEN 21:25.017 --> 21:25.818 STRUCTURED OUR BAND. 21:25.818 --> 21:26.318 >> RIGHT. 21:26.318 --> 21:28.120 >> I MEAN, TO A RIDICULOUS 21:28.120 --> 21:28.721 EXTENT. 21:28.721 --> 21:30.122 I MEAN, THE SECOND TIME WE 21:30.122 --> 21:31.223 PLAYED, WE SHOULD HAVE 21:31.223 --> 21:33.526 ABSOLUTELY NOT DONE -- WE DIDN'T 21:33.526 --> 21:34.860 KNOW HOW TO PLAY THE SONGS WE 21:34.860 --> 21:36.061 PLAYED THE FIRST TIME. 21:36.061 --> 21:38.063 WE SHOULD HAVE JUST REALLY 21:38.063 --> 21:39.265 WORKED ON THOSE SONGS. 21:39.265 --> 21:39.565 >> RIGHT. 21:39.565 --> 21:40.466 >> BUT WE DIDN'T. 21:40.466 --> 21:41.967 WE JUST RIGHT FROM THE BEGINNING 21:41.967 --> 21:43.269 SET THIS GOAL THAT EVERY SHOW 21:43.269 --> 21:45.471 WOULD BE DIFFERENT, EVERY SHOW 21:45.471 --> 21:46.372 AND EVERY SONG. 21:46.372 --> 21:47.973 >> SET LIST WOULD BE DIFFERENT. 21:47.973 --> 21:48.374 >> YEAH. 21:48.374 --> 21:50.276 >> AND IS THAT THE CASE TODAY? 21:50.276 --> 21:52.077 30 YEARS LATER, EVERY SHOW IS 21:52.077 --> 21:52.478 DIFFERENT? 21:52.478 --> 21:53.279 >> YEAH. 21:53.279 --> 21:56.282 BUT THEN CONVERSELY, THE 21:56.282 --> 22:00.186 THEELY'S, WHO ACTUALLY DID PLAY 22:00.186 --> 22:03.189 THE SAME SONG, THE METICULOUS 22:03.189 --> 22:05.491 APPROACH THEY TOOK, SOMEWHERE IN 22:05.491 --> 22:07.593 THE SECOND VERSE, HE'D GO CLICK. 22:07.593 --> 22:09.395 AND YOU'D GO, WOW, THE SONG 22:09.395 --> 22:10.896 REALLY -- THERE IT WAS. 22:10.896 --> 22:11.697 >> RIGHT. 22:11.697 --> 22:13.199 >> IT JUST CREATED SO MUCH. 22:13.199 --> 22:16.802 AND EVEN AS GEORGIA SAID, 22:16.802 --> 22:18.904 RECORDING US THIS FIRST TIME, HE 22:18.904 --> 22:20.706 REPLAYED A LITTLE, AND THEN BILL 22:20.706 --> 22:22.408 ADDED THIS LITTLE GUITAR PART. 22:22.408 --> 22:24.310 I WAS LIKE, OH, WOW. 22:24.310 --> 22:25.211 >> TRANSFORMED IT. 22:25.211 --> 22:26.412 >> NOW IT'S MUSIC. 22:26.412 --> 22:26.912 >> YEAH. 22:26.912 --> 22:30.916 >> AND SO THAT KIND OF APPROACH 22:30.916 --> 22:32.918 TO MAKING MUSIC, I THINK WE 22:32.918 --> 22:34.353 LEARNED A LOT FROM THEM, SO IT 22:34.353 --> 22:36.155 WASN'T NECESSARILY TO SOUND LIKE 22:36.155 --> 22:37.957 THEM, BUT TO THINK -- 22:37.957 --> 22:38.757 >> YEP. 22:38.757 --> 22:40.159 >> -- THE WAY THEY DID. 22:40.159 --> 22:40.859 >> UH-HUH. 22:40.859 --> 22:42.761 NOW, THERE IS ONE THING, 22:42.761 --> 22:44.363 GEORGIA, ABOUT YOUR SHOWS NOW, 22:44.363 --> 22:45.965 AT LEAST, THAT INTERESTS ME, THE 22:45.965 --> 22:47.266 DECISION -- I DON'T KNOW HOW 22:47.266 --> 22:48.968 RECENTLY YOU MADE THE DECISION 22:48.968 --> 22:50.369 TO ADVERTISE THIS WAY. 22:50.369 --> 22:52.671 AND I SEE ON YOUR SCHEDULE OF 22:52.671 --> 22:54.073 UPCOMING SHOWS, AT LEAST ONE OR 22:54.073 --> 22:55.674 TWO OF THE UPCOMING SHOWS OUT OF 22:55.674 --> 22:58.077 THE COUNTRY ARE SCHEDULED LIKE 22:58.077 --> 23:00.379 THIS ONE LOUD SET AND ONE SOFT, 23:00.379 --> 23:02.481 SO WHAT'S THE POINT OF 23:02.481 --> 23:03.782 TELEGRAPHING THE FACT THAT IT'S 23:03.782 --> 23:05.084 ONE LOUD AND ONE QUIET? 23:05.084 --> 23:06.485 >> WELL, I THINK IT CAME 23:06.485 --> 23:09.688 ABOUT -- WELL, FOR ONE THING, WE 23:09.688 --> 23:11.090 LIKE TO PLAY A LONG TIME. 23:11.090 --> 23:11.790 >> RIGHT. 23:11.790 --> 23:14.894 >> IF ANYONE'S SEEN US, WE LIKE 23:14.894 --> 23:15.694 TO PLAY A LONG TIME. 23:15.694 --> 23:16.395 >> THAT'S RIGHT. 23:16.395 --> 23:17.896 >> AND WE HAVE A LOT OF 23:17.896 --> 23:19.598 DIFFERENT KINDS OF SONGS, AND I 23:19.598 --> 23:21.200 THINK IT WAS -- AND THEN FADE, 23:21.200 --> 23:23.602 OUR MOST RECENT RECORD, IS A 23:23.602 --> 23:24.803 FAIRLY QUIET RECORD -- 23:24.803 --> 23:25.404 >> YEP. 23:25.404 --> 23:27.106 >> -- IN GENERAL, AND WE 23:27.106 --> 23:28.007 THOUGHT -- I DON'T REMEMBER 23:28.007 --> 23:29.208 EXACTLY HOW WE CAME UP WITH THAT 23:29.208 --> 23:31.210 IDEA, BUT WHEN WE WERE GOING TO 23:31.210 --> 23:32.211 GO ON TOUR, WE THOUGHT, YOU 23:32.211 --> 23:34.046 KNOW, IT WOULD BE REALLY NICE TO 23:34.046 --> 23:35.648 ACTUALLY, YOU KNOW, PUT TOGETHER 23:35.648 --> 23:40.853 KIND OF A SMALL SET WHERE WE, 23:40.853 --> 23:44.056 YOU KNOW, ACTUALLY PLAYED A 23:44.056 --> 23:45.557 STRIPPED-DOWN DRUM KIT. 23:45.557 --> 23:47.259 IT'S JUST A LITTLE QUIETER. 23:47.259 --> 23:47.960 >> YEAH. 23:47.960 --> 23:49.962 >> AND SMALL, AND PLAY A LOT OF 23:49.962 --> 23:51.063 THOSE SONGS FROM THE RECORD, AND 23:51.063 --> 23:52.564 MAYBE SOME OTHER QUIET SONGS 23:52.564 --> 23:53.966 THAT WE PLAY, AND THEN JUST 23:53.966 --> 23:54.767 FOCUS ON THAT. 23:54.767 --> 23:55.668 AND THEN COME BACK AND, YOU 23:55.668 --> 23:57.069 KNOW, GO CRAZY. 23:57.069 --> 23:58.070 >> KICK THE DOORS DOWN. 23:58.070 --> 23:58.470 >> YEAH. 23:58.470 --> 23:59.371 >> IT WOULD BE FUN. 23:59.371 --> 24:02.474 >> AND HONESTLY, THOSE SHOWS ARE 24:02.474 --> 24:03.876 REALLY FANTASTIC AND THEY REALLY 24:03.876 --> 24:04.476 WORK TOGETHER. 24:04.476 --> 24:05.377 THAT'S THE OTHER PART OF IT. 24:05.377 --> 24:07.980 >> YEAH, IT SEEMS LIKE -- THAT 24:07.980 --> 24:09.782 SEEMED LIKE A GREAT IDEA. 24:09.782 --> 24:12.384 >> AND IF YOU DO A SOFTER 24:12.384 --> 24:13.886 SOUNDING RECORD LIKE FADE, YOU 24:13.886 --> 24:21.393 HAVEN'T FORGOTTEN YO LA TENGO. 24:21.393 --> 24:23.495 >> YOU MENTIONED THE 24:23.495 --> 24:25.597 TELEGRAPHING, THAT WAS THE ONLY 24:25.597 --> 24:27.800 MISGIVING I HAD -- IS THE IDEA 24:27.800 --> 24:28.801 OF GOING, AND YOU DON'T KNOW 24:28.801 --> 24:30.202 WHAT'S GOING TO HAPPEN, AND THE 24:30.202 --> 24:31.804 FACT THAT WE DID TIP OUR HAND 24:31.804 --> 24:33.205 THAT WAY, IT JUST SEEMED THERE 24:33.205 --> 24:36.141 WAS NO WAY OUT OF IT. 24:36.141 --> 24:37.943 >> BUT THE REALITY IS, WITHIN 24:37.943 --> 24:39.044 THOSE TWO SETS, YOU DON'T KNOW 24:39.044 --> 24:40.245 WHAT'S GOING TO HAPPEN? 24:40.245 --> 24:40.446 >> RIGHT. 24:40.446 --> 24:41.947 >> HAVE YOU GOTTEN TO THE POINT 24:41.947 --> 24:43.649 WHERE YOU THOUGHT YOU DON'T WANT 24:43.649 --> 24:44.750 TO DO THIS ANYMORE? 24:44.750 --> 24:47.052 MY SUSPICION WITH THE TWO OF 24:47.052 --> 24:51.056 YOU, THEY'RE GOING TO MOVE THE 24:51.056 --> 24:52.358 GUITAR AND DRUMSTICKS FROM YOUR 24:52.358 --> 24:54.460 DEAD HANDS. 24:54.460 --> 24:57.463 BUT DOES THERE COME A TIME THAT 24:57.463 --> 24:59.264 YOU'RE NOT GOING TO DO THIS? 24:59.264 --> 24:59.765 NO? 24:59.765 --> 25:01.166 >> WE'VE NEVER THOUGHT ABOUT IT 25:01.166 --> 25:02.768 ONE WAY OR THE OTHER. WE DIDN'T 25:02.768 --> 25:04.069 START OUT FIVE YEARS, AND THEN 25:04.069 --> 25:05.371 WE'LL GET REAL JOBS. 25:05.371 --> 25:07.072 WE MIGHT HAVE TOLD OUR PARENTS 25:07.072 --> 25:07.172 THAT. 25:07.172 --> 25:08.774 THAT WAS NOT OUR PLAN. 25:08.774 --> 25:09.875 WE NEVER HAD A PLAN. 25:09.875 --> 25:10.376 >> YEAH. 25:10.376 --> 25:12.177 >> SO WHY START NOW? 25:12.177 --> 25:13.779 >> RIGHT. 25:13.779 --> 25:14.380 IS THAT FAIR? 25:14.380 --> 25:15.881 >> THAT'S TOTALLY FAIR. 25:15.881 --> 25:20.886 >> I LIKE ENDING ON NOT HAVING A 25:20.886 --> 25:21.186 PLAN. 25:21.186 --> 25:21.887 THAT'S REALLY GREAT. 25:21.887 --> 25:24.390 IT'S REALLY GREAT TO SIT WITH 25:24.390 --> 25:26.492 YOU GUYS TO CONSIDER WHAT'S COME 25:26.492 --> 25:27.192 BEFORE. 25:27.192 --> 25:28.794 IT'S GREAT TO WATCH Y'ALL. 25:28.794 --> 25:33.399 THANK YOU VERY MUCH IRA KAPLAN 25:33.399 --> 25:34.933 AND GEORGIA HUBLEY. 25:34.933 --> 25:36.735 >> WE'D LOVE TO HAVE YOU JOIN US 25:36.735 --> 25:38.637 IN THE STUDIO, VISIT OUR WEBSITE 25:38.637 --> 25:41.340 AT KLRU.ORG/OVERHEARD TO FIND 25:41.340 --> 25:44.042 INVITATIONS TO INTERVIEWS, Q AND 25:44.042 --> 25:45.144 A'S WITH OUR AUDIENCE AND 25:45.144 --> 25:47.346 GUESTS, AND AN ARCHIVE OF PAST 25:47.346 --> 25:47.946 EPISODES. 25:47.946 --> 25:49.848 >> OVER THE YEARS, WE'VE BEEN 25:49.848 --> 25:51.450 ASKED TO LICENSE SONGS TO 25:51.450 --> 25:52.851 COMMERCIALS, WHICH IS NOTHING WE 25:52.851 --> 25:54.453 EVER WANTED ANY PART OF. BUT WE 25:54.453 --> 25:56.054 WERE VERY HAPPY TO WRITE OUR OWN 25:56.054 --> 25:58.457 MUSIC, WRITE ORIGINAL MUSIC FOR 25:58.457 --> 25:58.757 IT. 25:58.757 --> 26:00.559 WE KIND OF DIDN'T WANT TO TAKE A 26:00.559 --> 26:02.761 SONG THAT HAD OTHER MEANING TO 26:02.761 --> 26:13.572 US AND APPLY IT TO STARBUCKS. 26:13.572 --> 26:15.073 >> FUNDING FOR OVERHEARD WITH 26:15.073 --> 26:16.275 EVAN SMITH IS PROVIDED IN PART 26:16.275 --> 26:19.578 BY MFI FOUNDATION, IMPROVING THE 26:19.578 --> 26:20.779 QUALITY OF LIFE WITHIN OUR 26:20.779 --> 26:22.080 COMMUNITY. 26:22.080 --> 26:23.482 AND FROM THE TEXAS BOARD OF 26:23.482 --> 26:25.484 LEGAL SPECIALIZATION, BOARD 26:25.484 --> 26:26.885 CERTIFIED ATTORNEYS IN YOUR 26:26.885 --> 26:29.288 COMMUNITY, EXPERIENCED, 26:29.288 --> 26:30.589 RESPECTED AND TESTED. 26:30.589 --> 26:33.091 ALSO BY HILLCO PARTNERS, TEXAS 26:33.091 --> 26:34.827 GOVERNMENT AFFAIRS CONSULTANCY, 26:34.827 --> 26:36.829 AND ITS GLOBAL HEALTHCARE 26:36.829 --> 26:38.430 CONSULTING BUSINESS UNIT, HILLCO 26:38.430 --> 26:39.531 HEALTH. 26:39.531 --> 26:42.034 AND BY THE ALICE KLEBERG 26:42.034 --> 26:44.336 REYNOLDS FOUNDATION AND VIEWERS 26:44.336 --> 26:44.937 LIKE YOU. 26:44.937 --> 26:47.339 THANK YOU. 26:47.339 --> 27:11.063 [ MUSIC ] 27:11.063 --> 27:14.166 >> THIS WEEK ON OVERHEARD, IRA 27:14.166 --> 27:16.969 KAPLAN AND GEORGIA HUBLEY WITH 27:16.969 --> 27:18.370 YO LA TENGO. 27:18.370 --> 27:20.072 >> TO THE EXTENT THAT I EMBRACE 27:20.072 --> 27:21.874 IT, IT HAS MORE TO DO WITH AN 27:21.874 --> 27:22.374 APPROACH. 27:22.374 --> 27:23.575 WE DIDN'T KNOW HOW TO PLAY THE 27:23.575 --> 27:25.377 SONGS WE PLAYED THE FIRST TIME, 27:25.377 --> 27:26.778 WE SHOULD HAVE JUST REALLY 27:26.778 --> 27:27.779 WORKED ON THOSE SONGS. 27:27.779 --> 27:29.081 >> YEAH, RIGHT. 27:29.081 --> 27:29.781 >> BUT WE DIDN'T. 27:29.781 --> 27:32.084 WE JUST RIGHT FROM THE BEGINNING 27:32.084 --> 27:33.085 SET THIS GOAL THAT EVERY SHOW 27:33.085 --> 27:34.086 WOULD BE DIFFERENT.