TDS Time Machine | Rock Stars - Pt. 2

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Speaker 4 You're listening to Comedy Central.

Speaker 3 Please welcome Neil Young. Neil,

Speaker 3 so great to see you.

Speaker 3 Hey, Love!

Speaker 3 Thank you so much for coming on the program. Thank you.

Speaker 3 The film Heart of Gold is

Speaker 3 wonderful.

Speaker 3 You know, you've done different concert films. Is this one your favorite?

Speaker 5 Well, you know,

Speaker 5 I have a lot of different kinds of music I play, so this is my favorite one that I've done.

Speaker 5 Really, I think it's more than, it's like a personal moment between me and the audience, like I used to be able to have when nobody knew who I was, when I was playing for 15 people, you know, and where I had to explain everything to them, every song, and kind of introduce myself.

Speaker 5 So in that respect,

Speaker 5 it's really great. And I love the whole thing.
But there are a lot of,

Speaker 5 or at least a few people who like my other side side of my music. And this film has totally turned them against me.

Speaker 5 There's maybe about 400 of them in the United States who hate me because of this film.

Speaker 5 Really? It's just too nice.

Speaker 3 They want the crazy horse vibe. They want worse than that.
They want a way.

Speaker 3 They want the minus. Yeah, right.

Speaker 3 Why Jonathan Demi? Why not Bernard Shakey to direct this film?

Speaker 5 Well, you know, first of all,

Speaker 5 Jonathan, he's just a master. I didn't have to worry about anything.
I had to worry about zero except playing my songs and trying to sing them. And there were so many new songs in the film.

Speaker 5 The first 10 or something are new. So it was easier for me to focus on playing these songs for the first time for people that had never heard of me before.
The record wasn't out.

Speaker 5 And making the film was, you know, he wanted to do it. He called me up and he said, I really want to do something.

Speaker 5 And I said, well, I got these songs and I sent him a list of the lyrics and everything. And he really liked them.
So I said, let's try this.

Speaker 5 And over the period of a couple of months, we figured out how to do it.

Speaker 3 Can you imagine if you send him the songs and he calls you back and goes nah I don't really want to do that.

Speaker 5 Nah they ought to try to get Bernard Shakey to do that one. Bernard Shakey

Speaker 3 the famed pseudonym yeah

Speaker 3 did you did you enjoy directing your own

Speaker 5 pressure of it was you couldn't focus on what you wanted to focus on well you know I really like directing things that I'm not in.

Speaker 5 Really? Yeah, because it's easier for me to direct other people. It's hard to be objective.
I mean, congratulations on your Oscar, by the way.

Speaker 3 Oh, thank you. But I didn't.
thank you very much. I appreciate that.

Speaker 3 You know what I'm going to do next time?

Speaker 3 Next time I'm going to direct that show and not be in it. It'll help me.

Speaker 3 It'll help me focus a little bit. That'll do it.
You talked about it's you like the intimacy and you miss the intimacy of that. You know, and it's been a lot of years since you've been in Unknown.

Speaker 3 Is there a way to recapture that in any way?

Speaker 5 Oh, gee, I don't think so.

Speaker 5 I wish there was.

Speaker 3 Do you find though that even amongst larger audiences, the affection for you is so great that that brings an intimacy? Like, does that compensate for it?

Speaker 5 Except it's a celebration.

Speaker 5 It's not like they don't know who I am. That moment where people don't know who you are and you're playing for them for the first time, that's just like the first time with anything.

Speaker 7 It's good.

Speaker 5 It's wonderful.

Speaker 3 And do you feel like there are times you want to earn it again or it's that?

Speaker 5 I do like to do that. That's why playing all the songs that they'd never heard before was so important to me, to a crowd that had never heard the songs, and a record had never even been out.

Speaker 5 So playing nine songs or ten songs in a row that they'd never heard, that's a real challenge. And to me, that's reaffirming that I still have something to do.

Speaker 5 If I'd gone out and just done 20 old songs, I would not be really happy with myself.

Speaker 3 Do you write in the same way? Is it, do you still feel the same sort of inspiration, the same sort of drive, or are there times where it's like, yeah, let me just write a song right there.

Speaker 7 I can't.

Speaker 5 Here's one now. Right.

Speaker 5 No, no,

Speaker 5 it's not the same, but

Speaker 5 I really like to get to a place where I'm totally out of touch, which isn't too hard for me.

Speaker 3 It's like falling off a log.

Speaker 3 And when you do that, that's when the best stuff starts to happen. That's right, that's right.

Speaker 5 When I'm not thinking about it, if I want to write a song, if somebody's going, Neil, you haven't written a song in a year or whatever, you got to write a song. I can't do that.

Speaker 5 But when they come, they come really fast, and

Speaker 5 I enjoy that. I'm like a vehicle, and it comes to me, and it goes through me, and I get it out there.

Speaker 3 You know what I love is the dog King. Oh, yeah, yeah.

Speaker 3 That's one of my favorites. He's still.
How old was King when King went?

Speaker 5 King was about nine.

Speaker 3 What kind of dog?

Speaker 5 It was a blue tick hound, a Tennessee blue tick.

Speaker 3 Tennessee blue tick. And truly the best dog you ever had?

Speaker 5 Great dog. We have some dogs now.

Speaker 5 Carl, if you're watching, this

Speaker 5 Carl, that's a chill.

Speaker 3 Do you feel Carl would be upset if you talk too highly about King?

Speaker 5 Maybe, yeah. But he might be confused because King's real name was Elvis.
So I tried to soften the blow.

Speaker 3 I think that was wise. Yeah, yeah.
So when you get home, you think Carl just might be sitting there in the yard like this?

Speaker 3 Could be.

Speaker 5 Fetch this. Yeah, right.

Speaker 3 That sort of thing. Well, Heart of Gold is in the theaters now.
It is truly just, it is, like you say, it's an intimate experience with your music, and it's a wonderful piece

Speaker 3 to watch. And I really enjoyed it, and it's lovely to come on the show.
Thank you for having me.

Speaker 6 My pleasure.

Speaker 3 Neil Young, everybody.

Speaker 3 What about my guest tonight, the front man of Foo Fighters, his HBO series, which he created and directed, is called Foo Fighters Sonic Highways.

Speaker 9 I looked at my interview with Steve like

Speaker 9 the message of this this entire project.

Speaker 9 We're all connected by something.

Speaker 9 Maybe it's a river that runs underground. Maybe it's Woody Guthrie.
Maybe it's Chuck D, whatever.

Speaker 9 That conversation became my goal.

Speaker 9 I want to talk about these people. I want to talk about music.
But I want to get to this.

Speaker 3 Nice. Please welcome back to the program.
Dave Gro!

Speaker 3 Good?

Speaker 8 I know it's hard. I know it's hard.
It's hard.

Speaker 3 What's happening? How are you? I'm good.

Speaker 3 I love this.

Speaker 3 This series is, it's just wonderful. Thanks.
It's wonderful. Thank you.
And

Speaker 3 it's old school, but in the best possible way, without that patina of kind of goofy nostalgia, but of what made the music in the cities you went to so vital.

Speaker 3 I don't know how you avoided that trap, but you did.

Speaker 8 Well, you know, part of the

Speaker 8 Part of the idea or the intention was to inspire the next generation of musicians to fall in love with music just as much as we did. So

Speaker 8 as much as I was digging into the history of American music, I was trying to make something that would inspire kids today to want to continue and do the same thing by showing these stories that are totally human, you know?

Speaker 8 Like if you look at any of what all of these people have one thing in common, is that at some point in their life, they were inspired to follow their dreams and make something of it.

Speaker 8 And whether it's Buddy Guy or Rick Nielsen or Chuck D or Ian Mackay, whatever it is, At some point in their life, they caught that spark and they're like, okay,

Speaker 8 this is me and this is what I want to do for the rest of my life.

Speaker 3 What I thought was so good about what you capture is in each of those interactions, in each of those cities, there is a moment where you're with them, where you feel that spark.

Speaker 3 Not only is it about exploring it, but you feel that electricity.

Speaker 3 There's that moment, and maybe it is for musicians, that feeling of when you're, you've connected on that artistic level and suddenly it starts to crackle.

Speaker 8 Yeah, well, a lot of the, also like I interviewed about a hundred people. Yeah.

Speaker 8 And when I would sit down to interview people I didn't I didn't have questions.

Speaker 3 What?

Speaker 8 I didn't hold questions in my hand.

Speaker 3 You think I do that? Yeah. What if that thing weren't there?

Speaker 4 I'm like you man.

Speaker 3 I'm rock and roll.

Speaker 3 I know you are.

Speaker 8 Yeah, I know. But if they became, there were conversations that then turned into lessons because there were things that I just didn't know.

Speaker 8 And so when I would talk to someone about the blues or jazz or country or Nashville, there were just things I didn't know.

Speaker 8 And I would sort of imagine myself as the viewer because they'd say something that would totally blow me away.

Speaker 8 And I'd just think, okay, I got to use that because people need to know that that's how it works.

Speaker 3 Turning that into the creative process, what's so unusual here as well is in terms of songwriting.

Speaker 3 So I'm sure you have ideas in your head and they're fragments of ideas and melodies and things, but you're saving the lyrics in these cities for when you're, right before you're about to record.

Speaker 8 So basically what we did is we went to each city for six days.

Speaker 8 First day we'd load in all the equipment, the next day we'd get the microphones up and we'd start recording.

Speaker 8 By the end of that day we'd have a drum track and some guitar stuff and then at night I'd go interview someone. Then the next day do some more guitar stuff,

Speaker 8 percussion, then I'd go interview people. I did that for four days and then on the fifth day I'd take all of those transcripts home and I'd sit down and I'd

Speaker 8 pick out words and sentences and phrases and I'd put them on this side of my journal and on this side of the journal I had an outline of the song And I would just sort of cut and paste because the idea is that the finale of each episode is a performance of the song that you've seen us putting together.

Speaker 3 And we

Speaker 8 perform the song, and you see the lyrics on screen, and you recognize all of these lyrics from references that you've just heard in the episode.

Speaker 3 No, it's remarkable. I didn't realize the process was six days.
I'm just going to, on the seventh day, I'm going to assume you rested.

Speaker 3 And the respect and love, you know, it made me yearn for that type of camaraderie.

Speaker 3 Comedians have a camaraderie and you go in, but I don't know that they necessarily have those types of regional flavors or the types of within music that sharing of influences.

Speaker 3 You don't often see, like, yeah, I sat down with a prop guy, you know, I'm a Carlin guy, and I all, we, and we came up with something beautiful.

Speaker 3 Like that, that ability to collaborate seems so inviting. Well communities.
So

Speaker 8 communities are really important. It's different now because everything's so interconnected.
It used to be that these places were isolated somewhat that you would have regional sounds.

Speaker 8 You know, there were reasons why

Speaker 3 jazz

Speaker 8 comes from New Orleans and why the blues made its way to Chicago and why Nashville became a country capital and why all of the music from Seattle so different. Yeah, your map's all f ⁇ ed up.

Speaker 3 Yeah, it's that.

Speaker 3 Can I do that right? I think that was New Zealand.

Speaker 3 It's Alaska. That was Alaska.

Speaker 8 But now everything's so interconnected that all of these communities have become sort of one big community.

Speaker 8 And one thing that I think it's important for people to understand is one of the most rewarding things about playing music is doing it with other people.

Speaker 8 And communities support each other. Like the punk rock community, when we were young, it's like it was you and your buddies, and you never really imagined that it would leave

Speaker 8 your city or your local club. It was just like your pals, and you did it, and you had your band play with you, and you would go play at your friend's club.
And

Speaker 8 I think that some people might imagine these days that you don't need that, that you can just do it on your own.

Speaker 8 But it's really important, I think, to work with other people because you get inspired by them, they push you to do other things, and the sense of community is really important.

Speaker 3 And I think that, boy, that comes through ACEs

Speaker 3 in the whole program. It's great.
And the nice part is, it's eight cities now, and there's more than that. So I assume there's a season two that will go.

Speaker 8 There might be a a season two.

Speaker 3 I think I'd like that very much.

Speaker 3 Finale of Sonic Highways premieres Friday, 11 p.m. on HBO.
The album, Sonic Highways, on sale now. Dave, always nice to see you.
Dave Roll.

Speaker 3 My guest tonight, legendary singer-songwriter. His new book is called The Tao of Willie: A Guide to the Happiness in Your Heart.
Please welcome to the show, Willie Nelson.

Speaker 3 Nice to see you. Thank you.
Nice to see you.

Speaker 3 Thank you for joining us. Glad to be here.

Speaker 3 Just a real honor and a privilege. The book is called The Tao of Willie.

Speaker 7 Which also can be pronounced the Tao.

Speaker 3 I got it mixed. I first thought it was the toe of the Willie.
The toe? The toe of Willie. Really?

Speaker 3 Now you call it, what's the actual pronunciation? Dow. Dow.

Speaker 3 And not Tao. Not Tao.
Can I tell you something? No. I'm an un

Speaker 3 and Willie. Did I get Willie right? Yeah.

Speaker 4 Because that,

Speaker 1 honestly,

Speaker 3 I've been working on it. It threw me too.
Did it really?

Speaker 7 Yeah, I thought they'd misspell toe right off.

Speaker 3 This is what I'm thinking. Oftentimes, country is obviously

Speaker 3 so enmeshed with Eastern philosophy. Sure, it is.

Speaker 3 How did you, the idea to do this, because

Speaker 3 where did that come from in you? Is this something you've studied?

Speaker 7 Well, someone asked me to write this book and I said, you know, what's Tao?

Speaker 3 I said, what's the, you know?

Speaker 3 So if I may, let me, is your philosophy something like,

Speaker 3 hey, if they put food in front of you, eat it.

Speaker 3 I like that. I like that a lot.
Yeah, that's good. Could I be in the next edition of the book?

Speaker 3 You are the most agreeable man I've ever met in my life.

Speaker 7 Well, you've been in all my movies, you know.

Speaker 3 I have been in all your movies, haven't I?

Speaker 3 I was your co-star as, I was the enhancement smoker in the classic half-baked.

Speaker 3 Bit of an audience favorite. You can tell.

Speaker 3 Here's the amazing thing about

Speaker 3 you in my mind. Your cred cuts across all lines, all musical genres, acting.

Speaker 3 Nobody doesn't like and respect Willie Nelson.

Speaker 3 Is that

Speaker 3 your Dow? Is that your... How do you pull that off?

Speaker 7 Well, I'm not sure I've completely done that.

Speaker 3 There's not, I have to say, there's a, oftentimes we have a guest on and people will be like, oh, that'll be five minutes. But with you, people

Speaker 3 have a genuine affection for you in a way that is very unusual in this business.

Speaker 3 Do you think it's,

Speaker 3 I mean,

Speaker 3 I see you as an iconoclast, as someone who literally just feels what he feels inside, and that's what motivates you, and there's really no, you don't feel any other outside motivations. I see it.

Speaker 7 That's not. There are no secrets.

Speaker 3 Right. Well, that could be a very short book, then.

Speaker 3 You have to put some secrets. It's not very heavy.
No.

Speaker 3 Is this the kind of thing now for you, you,

Speaker 3 when you're on the road, do you contemplate it or are you just sort of trying to feel and experience everything as it comes to you?

Speaker 3 Well,

Speaker 7 keeping breathing is a big part of this thing.

Speaker 7 If you can manage to do that, then you've got the first TA of the DAO.

Speaker 3 So you like, you like people to start and focus on the fundamentals.

Speaker 3 Because without breathing. You're going to start there.
You're going to start with your breathing.

Speaker 3 Did you see David Blaine in the bubble, the water bubble?

Speaker 11 Yes, I did.

Speaker 7 Was you ever worried?

Speaker 3 Well, he failed Willie Nelson's fundamental rule. Which is keep breathing.
Which is keep breathing.

Speaker 3 He was in water.

Speaker 3 Bad move.

Speaker 3 Risky, very risky. Very risky move.
I was nervous for him. I know him.
He's a very sweet man. And I was worried that he would drown.
And he really thought he could do that, I guess.

Speaker 3 After eight days, I mean, I understand, okay, I'm going to try and hold my breath and break the world record. But why?

Speaker 3 Once you spend eight days in water,

Speaker 3 and then at the end of it, you're going to go, oh, right, the world record.

Speaker 3 I don't think that way, you know.

Speaker 7 Here's what I do.

Speaker 3 I break the world record, and then I bathe for eight days.

Speaker 3 Then I relax.

Speaker 7 Yeah, and then you hold your breath a little at a time.

Speaker 3 That's what I'm talking about, Willie.

Speaker 3 What's the next? You're going to play now. You've got some concerts upstate in New York.
You got some other stuff coming? We're going to Binghamton for the 20th.

Speaker 3 Nothing better than Binghamton in the spring. True story.

Speaker 7 We just come out of Canada.

Speaker 3 Out of Canada?

Speaker 7 Nothing better than Canada this time of year. It's lovely up there.

Speaker 8 Great weather up there.

Speaker 3 Great. We played golf courses the first day of the season.

Speaker 7 It had never been opened that early.

Speaker 3 Really? Yeah. Now, is it surprising to you that up in Canada it's so warm this early? Yeah.

Speaker 7 It was surprising to a lot of the Canadians.

Speaker 3 When the bears start coming down. Well, it's an absolute delight to meet you and we're truly honored.
The book is the Dow of Willie.

Speaker 3 That's how the book says, now, Willie Melson, everybody.

Speaker 10 Earlier today, I spoke with the legendary musician Bruce Springsteen. We talked about his new album and documentary, The Upcoming Election, and so much more.

Speaker 4 The East Street Band makes me dream, think,

Speaker 4 and write big.

Speaker 4 When I am amongst my friends, I allow a certain part of my mind that seems to be reserved for only them

Speaker 4 to be set free.

Speaker 4 And I dwell in a house of a thousand dreams.

Speaker 10 Bruce Springsteen, welcome to the Daily Social Distancing Show.

Speaker 4 Thank you very much.

Speaker 10 It is truly an honor to have you here because

Speaker 10 you are not just an artist. You are not just a successful artist, but in many ways, people would say that you write the story of America in your music.
You've been extremely successful doing it.

Speaker 10 I mean 20 Grammys, two Golden Globes, a Tony Award, an Oscar.

Speaker 10 At this stage of your life, what do you think Bruce Springsteen is still trying to tell people through his music?

Speaker 4 I'm just trying to keep going.

Speaker 4 At 71,

Speaker 4 I'm just trying to make it to the next record and the next show, you know?

Speaker 4 But

Speaker 4 I don't know. I guess if someone was interested in

Speaker 4 sort of

Speaker 4 a little bit of

Speaker 4 cataloging the history of the United States since, say, 1970, it's

Speaker 4 post-industrial period

Speaker 4 in music.

Speaker 4 looking for music that dealt with some of the issues that have occurred over the past 40 or 50 years, you know,

Speaker 4 they could do worse than go and dig into some of my stuff, I suppose, you know. So if I've been good for anything,

Speaker 4 maybe I've been good for that a little bit.

Speaker 4 And then the rest of the time, I'm just trying to entertain you and help you do your wash and your laundry and vacuum your floor and dance a little bit in the kitchen. And,

Speaker 4 you know,

Speaker 4 we're here to soothe your soul through troubled times a little bit if we can. And that's how I look at my job.

Speaker 10 One thing that that makes your job so interesting or rather the execution of your job is that it feels like you're talking about everybody's lives, everybody's society, what you see going on.

Speaker 10 I mean you've written music about police brutality

Speaker 10 many many years ago that if someone played that song today, they'd go like, oh, you wrote it about now.

Speaker 10 But when you look at those themes, I've always wanted to know, like, what do you think you're trying to get across to the listener? What do you think the music is trying to achieve?

Speaker 10 Is it just to shine a light on the subject or is it to also infuse a little bit of your politics and

Speaker 10 what you experience in and around the world?

Speaker 4 I suppose it's a little bit of both. You know, it's the way you see things and how you're experiencing them.
And

Speaker 4 there's a part of me that says, if you were interested in knowing what it was like to be

Speaker 4 a citizen of the United States between 1970 and 2020, like I said, you know,

Speaker 4 that may be in my work a little bit. A lot of the times you're just written, you just write what moves you.

Speaker 4 But also,

Speaker 4 you write what you are able to write about. Because very often

Speaker 4 I don't operate from

Speaker 4 a conceptual place first.

Speaker 12 I operate sort of internally first, and then

Speaker 4 and then it becomes outward. So a song, say, like American Skin that I wrote in 1998 about the Amadou Diallo shooting

Speaker 4 can feel current today, you know, but it was just something at the time. I remember I was thinking we were coming to New York.
I wanted to have a new piece of music. And

Speaker 4 that had recently occurred and I was just able to write about it. So I did.

Speaker 12 I didn't think it was going to be particularly controversial at the time. It ended up being a little more so than I thought.

Speaker 12 But that's kind of how I approach things. The political aspect in my music is more

Speaker 12 through implication.

Speaker 12 I try to write good three-dimensional character studies where I bring

Speaker 12 lives to life, you know, and

Speaker 12 create

Speaker 12 breathing, living human beings that you will recognize in my music. And then I kind of let the politics speak for itself.
You know,

Speaker 12 of course, some of your own comes through, but I really,

Speaker 12 I wouldn't consider, I don't consider myself a topical songwriter. I don't consider myself a political songwriter.
If anything,

Speaker 12 at this late age,

Speaker 12 I would say

Speaker 12 I'm a little more, I've been saying I've been a little bit more of a spiritual songwriter in that that's what's sort of been driving my some of my most recent work.

Speaker 4 So

Speaker 12 that's basically the way I look at my job and

Speaker 12 what I do.

Speaker 10 I think that's one of the more fascinating things about you is that you always refer to it as a job. You know, even in the documentary, I loved how you've reunited the E Street Band.

Speaker 10 Here you are, you know, 50 years from the inception of this idea, and

Speaker 10 you guys are jamming, and you play for a very long time. And I love that

Speaker 10 you say to the guys, you're like, guys, this is our job. We have a job to do.
And everyone's talking about a job and it's work. And you guys are having a great time, but it's like you're working.

Speaker 10 It's like, we're working. We're getting the chords.
We're doing the thing. Why do you think you work so hard?

Speaker 10 It may seem like an obvious question, but why do you think you work so hard and play for so long to make the songs what they are?

Speaker 4 I just like to do it. You know, it's

Speaker 4 the way that I've enjoyed doing my job since I was a very, very

Speaker 4 young man. You know, when I was 18 or 19, I was used to playing five hours a night in a bar.
So I was very used to that kind of playing very early in

Speaker 4 my work life. And

Speaker 4 I also felt I was

Speaker 4 desperate to communicate.

Speaker 4 And I just,

Speaker 4 starting from when i was young i felt there was a lot i wanted to talk to you about right now

Speaker 4 and i don't know what tomorrow brings but i know that this evening we're all here and we're in this room so i'm interested in making the most of my opportunity to speak to you tonight and that drove me more than anything else it's something i've just always enjoyed.

Speaker 4 I've enjoyed doing. When I come off stage, I feel a release and a catharsis that occurs through that kind of work

Speaker 4 and I don't think

Speaker 12 and that's what's that's just what's driven me and you know and so it's really it's really what drives you and and how you approach your job and and I always approached it as

Speaker 12 as this very sort of I would say joyous work you know I've gotten this tremendous amount of joy out of it

Speaker 12 we're serious when we when we get on when we get on the stage or when we come in the studio.

Speaker 12 So there's not exactly what I would call a party atmosphere, I suppose, you know, but it's a work atmosphere where there's an enormous amount of happiness and joy

Speaker 12 and simply what we're accomplishing.

Speaker 10 For a long time, your music has been the cathosis. You have seen people who have felt unseen.
You have spoken about towns that are forgotten in time.

Speaker 10 You've spoken about industries and places and people that seem to have been completely forgotten. And yet at the same time, you have as big a following on the coast.

Speaker 10 You cross all walks of life.

Speaker 10 I wonder if you ever sit and ask yourself why you think you do so well with such a broad swath of people.

Speaker 4 Well, I would say, first and foremost, I'm a good storyteller.

Speaker 4 You know, and people like stories.

Speaker 4 And they like stories that connect to their inner geography. Your inner geography

Speaker 4 may or may not have to do with anything you've experienced or not experienced. It's simply the geography of your emotional life.

Speaker 4 And I believe

Speaker 4 I've done well at speaking to that.

Speaker 4 And our largest audience is in Europe. We have two-thirds of our audience exists in Europe now.
Much, much, much, much bigger than the United States. And

Speaker 4 so why is that? I think I'm a good storyteller, you know, and I think in Europe people are very interested in America and American myth and what's going on over here.

Speaker 4 And

Speaker 4 those are the stories I've told since I was a young man.

Speaker 4 But really, I believe what's at the heart of it is

Speaker 4 people like your music. They like the way it sounds.
They like the way you sing. And and they like the stories you tell.

Speaker 10 You tell stories that some people cannot tell for themselves. You know,

Speaker 10 I always loved listening to your music because I felt like it took me on a journey through what people refer to as the heartland of America.

Speaker 10 What I've also been intrigued by in your music is how people oftentimes miss the meaning of your music, misconstrue your music, or have a completely different understanding of what the music is.

Speaker 10 So for instance, a great example is like born in the USA. You know, like people play it in a way that when you listen to the lyrics, you're like, well, this doesn't seem like how people are dancing.

Speaker 10 Like people are like, yeah, this is a song about, let's take over the world.

Speaker 3 I'm born in the USA.

Speaker 10 And your song seems to be more like, it's like you're questioning this whole idea of what America is doing in the Vietnam War. And again, it can translate to what's happening today.

Speaker 3 Do you...

Speaker 10 How do you feel about that when people are playing your song for like the opposite reason that you wrote the song for?

Speaker 4 Well, Well in this particular case

Speaker 4 this is my cross to bear so I try to bear it with a smile but

Speaker 4 I think what the issue is is that

Speaker 4 the key to some of my music is you need to be able to hold two contradictory ideas in your mind at the same time, which is sort of the measure, a bit of the measure of adulthood.

Speaker 4 So you need to be able able to deal with the fact that a song can be both prideful and critical.

Speaker 4 And

Speaker 4 that idea is very central to a lot of my music because that's how I feel. You know, I'm proud of my country.

Speaker 4 I've had an amazing life and gotten the best out of it through living here, but there's a lot to continue to be critical about. So both of those things are going into my music.

Speaker 4 It's a bit up to the listener to listen well if you want to get the whole picture. But to do so, you've really got to be able to hold the idea.
Pride and criticalness can go hand in hand.

Speaker 10 Let's talk about being critical then.

Speaker 10 You came out in an interview recently and said if Trump wins a second term, you'll move to Australia.

Speaker 10 I don't think that's true, right? It just didn't feel like that's something you would do.

Speaker 3 Well,

Speaker 4 I don't think I'm going to go there, but I'm not sure yet.

Speaker 4 So we'll see. But,

Speaker 4 you know, I'll be glad to see him go. I think he's going to lose.
And I'll be glad to see that happen.

Speaker 10 We've got a new album from Bruce Springsteen. We've got a documentary.
We've got so many pieces of material that we can enjoy of yours right now. You've got new music that's just come out.

Speaker 10 You've got a few tracks that you've previously unreleased tracks from, you know, decades and decades ago that you've remade for today.

Speaker 10 It feels like you've always been sure about yourself. It feels like you're prolific because you know that you have something to say.
But I wonder, when you create, do you still have doubts sometimes?

Speaker 4 Well, any good artist wrestles with their insecurities. It's your insecurities that move you forward.
If you were simply

Speaker 4 comfortable with, completely comfortable with who you are and what you're doing and where you've done, I don't know if you would have the fire in you to move forward.

Speaker 4 It's your doubts and your questions and you are searching for new and different answers that move you forward in your work.

Speaker 4 So I would describe myself, do I have more

Speaker 4 artistic security than I had when I was 23? In some ways, but I don't believe that that necessarily had anything to do with the quality of the music that I was writing.

Speaker 4 I can look back and say when I was 25, I made this record Born to Run, and it's as good as any record I've ever made. I

Speaker 4 wrote it when I was 24 years old. I've got songs on this album that I wrote when I was 22 years old, before I made any rec, before we recorded any music.

Speaker 4 And it was three of them that ended up on this record. So those things I don't necessarily influence the quality of your artistic output.

Speaker 4 But I do believe that

Speaker 4 your doubts and questions and insecurities do move your work forward, do keep you questioning, do keep you searching, and that's at the key of artistic

Speaker 4 progression.

Speaker 10 My final question to you is: as someone who was born to run, someone who's always been on the road, someone who has performed thousands of concerts all around the globe, what have you been doing during the pandemic?

Speaker 4 I am born to sit still at the moment. So I'm doing what everybody else is doing, you know.
I mean,

Speaker 4 we stay inside a lot.

Speaker 4 You know, we have a few friends that we're careful, we see, we're social distancing, you know, we're, and

Speaker 4 luckily enough, I have a studio at my home, which we're... I'm in right now.
And I've had a variety of projects to keep me busy. I had the film, I had the album, which we started pre-pandemic.

Speaker 4 And I have a radio show that I do bi-weekly, basically, which I've enjoyed doing and has allowed me to continue the conversation with my audience

Speaker 4 during these strange times. But, you know, I've been lucky, like I say, that I can work at home.
That,

Speaker 4 of course, I'm extremely fortunate that I don't have some of the worries

Speaker 4 that other folks have.

Speaker 4 as far as getting through tomorrow or the next day or next year, you know. But

Speaker 4 our circumstances have have sort of been,

Speaker 4 you know, pat, I got, you know, my family, I'm lucky enough to have my family here. So, and it's, we've just been holding on like everybody else.

Speaker 10 Well, I appreciate you. It's been a wonderful journey for me going through your body of music, getting ready for this interview.
So

Speaker 10 you've got a brand new fan. I appreciate your time.
Thank you so much for joining us on the show. Thanks, Trevor.

Speaker 3 Welcome back, my guest. Tonight, his last CD play was a huge smash hit.
He's back now with a new release called 18. Please welcome Moby!

Speaker 3 What do you guys think? A prop. You got a prop? Yeah.
You go into it. You want me to go to it right away or you want to wait? I don't.

Speaker 13 Do you want to wait?

Speaker 3 Let's wait. Okay.

Speaker 10 it's the best photo shoot I ever did.

Speaker 3 Now you're tantalizing me.

Speaker 13 But you can't, the only thing is you can't show it on the television.

Speaker 3 Oh, sure.

Speaker 3 Cable.

Speaker 3 Oh, sure, yeah. That's fine.

Speaker 13 It's the most enjoyable photo shoot I've ever done.

Speaker 3 Holy smacks.

Speaker 3 Isn't that remarkable?

Speaker 7 They're all naked.

Speaker 13 They're all naked.

Speaker 3 Holy smacks.

Speaker 3 Is this a foreign magazine?

Speaker 13 It's a British magazine.

Speaker 3 I consider that foreign.

Speaker 13 But my question is: like imagine. Yeah.

Speaker 13 imagine if you're like the graphics editor of a magazine, and you have a choice between that on the cover

Speaker 3 or that.

Speaker 13 Which is your choice?

Speaker 13 Am I allowed to show?

Speaker 3 Sure.

Speaker 10 So we have that.

Speaker 10 No good! No!

Speaker 3 All right.

Speaker 13 So that's choice one.

Speaker 13 That's choice two.

Speaker 13 Choice one.

Speaker 3 I'll give it to the people in the audience they can.

Speaker 3 You guys want to pass it over?

Speaker 3 Anyone over there?

Speaker 4 Why do you think he picked him?

Speaker 3 That was short.

Speaker 3 Do you know the fellows from Oasis? I've met them a few times. Now they seem very mean to me.

Speaker 13 Strangely enough, the singer, Liam, I met him in an airport, and I think he'd been drinking straight for about 96 hours.

Speaker 13 And he was sort of catatonic but benign.

Speaker 3 Do you think that was hour 96? Because I imagine him in like hour 32 through 47 of a drinking binge. He's just a complete maniac.

Speaker 13 I've never seen him at hour 32.

Speaker 3 You should see him at hour 32. It's really quite something.

Speaker 3 And his brother is sort of the, he writes the music, I guess. I think so.
And then Liam comes in,

Speaker 3 I guess, after the binge,

Speaker 3 sings. And leaves.
And leaves. It's a good gig.
That's all I'm saying.

Speaker 3 How about your thing? How's you got Eminem dissed you in a song? That's amazing. It's pretty neat.

Speaker 13 I thought that was so cool. Has anyone heard that song?

Speaker 3 Yeah, I don't know the name of it, but it's...

Speaker 3 What's the diss? Do you know? Because I have trouble hearing the lyrics. He says something like

Speaker 3 Nobody Listens to Techno. Yeah.

Speaker 13 It's a little bit ironic because the last Techno record I made was about nine years ago.

Speaker 3 Maybe that's when he dissed.

Speaker 13 But the thing...

Speaker 3 Maybe he's got a backlog of material that you don't realize.

Speaker 13 But the thing that hurts is some of my friends, my sort of like aging hipster friends and I, are troubled by the fact that we're getting older. And Eminem disses me for being too old.

Speaker 3 Really?

Speaker 3 Wait, what does he say? What does he say about how old you are?

Speaker 13 He says, I'm too old.

Speaker 13 There's no, no, no, no.

Speaker 3 So he just goes for it head on.

Speaker 13 No metaphor, no allegory, no poetic imagery. He says,

Speaker 13 you're too old.

Speaker 3 Boy, I'd hate to think what he said about me then, because

Speaker 3 I'm older than you.

Speaker 13 How old are you?

Speaker 3 I'm 80.

Speaker 3 No,

Speaker 3 I'm 39. I'm 36.
You're punk. You're young.
You're nothing. You're wet behind the ears.

Speaker 3 Do you want to ask me any questions about life?

Speaker 14 About life?

Speaker 13 Let me think.

Speaker 3 I got to get three years on you.

Speaker 13 Do you, what, what? It's the rascal. That's the little.

Speaker 3 10 and 2. That's how you do it.
10 and 2.

Speaker 3 You understand what I'm saying?

Speaker 3 Always keep 10 and 2. And then when you're turning, over hand.
Over hand. Over hand.
And you'll get the hang of it. And

Speaker 13 Depends just for urine?

Speaker 13 All right.

Speaker 10 That is true.

Speaker 3 Now this CD,

Speaker 3 the first song off at Star, right? Okay, is it my imagination or is Corey Feldman in this?

Speaker 13 In the video.

Speaker 3 Yes. Yeah.

Speaker 13 Everybody's in the video.

Speaker 3 Okay, but Kato Kalen, the whole business.

Speaker 13 Kato Kalen, Gary Coleman, Corey Feldman,

Speaker 13 JC from NSYNC, Tommy. It's the weirdest.
Ron Jeremy the porn star?

Speaker 3 Who did you, like when you sold Ron Jeremy on being in it, did you go, come on, Gary Coleman's in it? We're going to be.

Speaker 3 Like, how do you sell that guy on that? I don't know.

Speaker 13 There's a casting agent who got all the extras in it. I don't know how he did it.

Speaker 3 I do. He asked them.

Speaker 13 It was really easy. But standing next to Ron James, have you ever, you've met porn stars before?

Speaker 3 I've met Ron Jeremy.

Speaker 13 Yeah, but the whole time you're talking to him, you're having a nice civil conversation, and you keep thinking, wow, I've seen you naked.

Speaker 3 I've seen you.

Speaker 13 Like,

Speaker 13 you're talking about the weather or sports, and you're thinking to yourself, I know what your penis looks like.

Speaker 3 You know what's weird is that's the only thing I'll talk to him about. His penis?

Speaker 3 I'll just, I won't even do the other small talk. I'll just go, I know what your penis looks like.

Speaker 3 And I'm frightened.

Speaker 3 Well, 18 is in the record stores tomorrow. I'm sorry that we don't have much more time to talk.
It's good to see you again. I haven't seen you in about a year, for God's sakes.

Speaker 13 Last time I saw you, we had dinner

Speaker 7 six months ago at somebody's house.

Speaker 3 Yeah. And you beat me up.
I remember that.

Speaker 3 The album is called 18 Moby, everybody. Let him hear it.

Speaker 3 Explore more shows from the Daily Show podcast universe by searching The Daily Show, wherever you get your podcasts.

Speaker 3 Watch the Daily Show weeknights at 11, 10 Central on Comedy Central, and stream full episodes anytime on Fairmount Plus.

Speaker 4 This has been a Comedy Central podcast.

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