TDS Time Machine | Rock Stars - Pt. 1

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Speaker 5 You're listening to Comedy Central.

Speaker 5 What do you want me to say? What do you want me to say?

Speaker 5 My guest tonight, my favorite legendary musician new album is called Working on a Dream. He goes on tour with the East Street Band in the United States and Europe beginning April 1st.

Speaker 5 Please welcome the program, Bruce Springsteen.

Speaker 5 Soak it in, soak it in.

Speaker 5 Nice to see you.

Speaker 7 Good to see you too.

Speaker 5 My first question.

Speaker 5 Could you sign this?

Speaker 9 This

Speaker 5 buddy of mine is Swedish, Jan. It's spelled.
Spelled J-O-N.

Speaker 10 You can do it later.

Speaker 5 Says here you're from New Jersey.

Speaker 11 Yeah?

Speaker 12 It's great to see you. How are you? 40 years with the E-Street Band.

Speaker 11 Yeah.

Speaker 12 When we start rehearsal, we get everybody in a room, and the guys that can stand get to go up front.

Speaker 12 The guys that sit, they have to go in the back, you know.

Speaker 5 Is it like when I get together with guys that I knew when I was in high school and I was younger, we revert. back to the age when we met.

Speaker 12 We've worked it out so we don't do that.

Speaker 12 So you can get things done. That's much more.

Speaker 12 There was a thing like when we when the band picked up again that was one of the rules that we don't revert back to the age when we met.

Speaker 5 Because you've been back now it's it's 10 years since the band is now

Speaker 5 back together. What is it you you talked about when you've been together that long and you've been playing together it turns into something like love.

Speaker 5 Is that what this is it love?

Speaker 12 Sure, it's love and hate, of course, you know?

Speaker 12 No, it's like, imagine it's the same four, six, seven people that you went to high school with and then lived with your whole life and you're 60 years old and you turn around every night and they're all still there.

Speaker 12 That's either going to be incredible or it's going to be your living nightmare.

Speaker 12 And luckily in our case, it's almost always incredible, you know?

Speaker 10 And

Speaker 15 so

Speaker 5 when you get together and you start rehearsing, at that point, is it all so natural? How do you work together? Because your shows are always so tight,

Speaker 5 but so joyous.

Speaker 5 How does that process work?

Speaker 12 We don't really rehearse.

Speaker 12 The rehearsal, we did that the last 40 years, you know.

Speaker 12 So what we do mainly is we get together and

Speaker 12 you try to find a show.

Speaker 12 that you haven't done before that both sort of contains the history that you share with your audience, contains the new music that you've written, and contains some way to capture the moment that's occurring out in the world right now.

Speaker 12 You know, I think people come,

Speaker 12 we've had an enormous moral, spiritual, economic collapse. People go to storytellers

Speaker 12 when times are like that. And our band was built from the beginning for hard times.
You know, that was the music we wrote, that was the way that we played.

Speaker 10 And

Speaker 12 so I think... try to sort of

Speaker 12 I think people are out there right now they're looking for

Speaker 12 the country's lost its moral center, which is something you've joked about and talked about over the, you know, but it's, but

Speaker 11 it is true.

Speaker 12 It's almost, it's very, it's very, the only thing that can remind me of is a bit post-Watergate,

Speaker 12 when there was a rootlessness to...

Speaker 5 And that's when you really struck a chord, was that 70?

Speaker 11 75.

Speaker 12 And so it's similar to that

Speaker 12 in a sense that

Speaker 12 the idea of work and service to the public being a part of your work feels like it's been stripped away that people drank a whole lot of their own Kool-Aid that there was this subculture of people that basically brought down the country and we're in the position to do that and Everybody out there is footing the bill.

Speaker 12 So and you've seen President Obama struggling to find

Speaker 12 a where's the moral center of the argument he's making right now.

Speaker 12 And it's hard to find.

Speaker 5 And struggling with the political, you know, that's the one thing that, you know, as an artist, you probably don't have the burden of is finding the politics.

Speaker 5 But how do you balance that with your audience? Because your audience is also

Speaker 5 can be conservative, blue-collar, they might reject some of the political arguments. Does that come into play?

Speaker 12 When they do that, they boo.

Speaker 5 Now, when they do that, do you just pretend they're saying Bruce?

Speaker 12 Yes, I do.

Speaker 7 I think that's a smart rules.

Speaker 7 But

Speaker 12 unfortunately, believe it or not, you can tell the difference.

Speaker 12 And so, you know, it happens over the past, certainly during the Bush administration, you know, we had a variety of times at night. People boo.
They boo what you're saying.

Speaker 12 They don't like what your ideas are.

Speaker 12 But that happens. You know, I once had there was a situation when,

Speaker 12 you know,

Speaker 12 we played in New York shortly after the Amado Diado.

Speaker 12 shooting and I remember we began the song and a gentleman rushed the stage and and and

Speaker 12 flipped us the New Jersey State Bird

Speaker 11 as we were going into the song, you know.

Speaker 12 And then they go back to their seats and he's like cheering the next tune, you know.

Speaker 12 But it's

Speaker 12 just part of what we do. I always assume that when you have a, I go out and I play to many audiences at night.
There's the audience that comes because they want to hear their favorite songs.

Speaker 12 There's an audience that comes because

Speaker 12 they're interested in the philosophy and the ideas of what you're doing.

Speaker 12 There's many, many different audiences. And I take it into consideration when I go out there, but I don't let it define what I do, how we do it, or what we're trying to do on any given night.

Speaker 5 But the shows I always connected with, you could always tell there was a foundation and a heart to it.

Speaker 5 And I must tell you, just purely on a personal basis, you know, people always talk to me about who are your influences? What made you do what you do?

Speaker 5 I can say, I draw a line, I do what I do because of Bruce Springsteen, and I'll tell you why.

Speaker 5 You introduced me to the concept of the other side. You introduced me to the concept of you go through the tunnel and you take a chance, and you can work to get away from your circumstance.

Speaker 5 And by working to get away from your circumstance, you can make something better of yourself, but there's no guarantee. What I loved about what you do and your music is it's complex.
It's that

Speaker 5 you can work to change what you do,

Speaker 5 but when you get to the other side, you may be the rat and you may get gunned down in the street but you know what the joy of it is is chasing that dream and and that was my inspiration for leaving new jersey and going to new york and

Speaker 5 bless you

Speaker 12 all i can say is uh so

Speaker 5 i just wanted to thank you personally from the bottom of my heart

Speaker 5 giving me something to put into the dashboard as i drove a u-haul van uh through the hollandau and all i can say is is you have done well grasshoppers

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Speaker 15 My guest tonight is the legendary drummer and co-founder of The Roots, Amir Questlove Thompson.

Speaker 15 He's here to talk about his award-winning documentary, Summer of Soul, which was just nominated for an Oscar.

Speaker 15 We brought everything to the park. You know, the blankets, the Vaseline for the knees.

Speaker 15 It was the ultimate black barbecue.

Speaker 15 And then you start start to hear music

Speaker 15 and someone speaking

Speaker 15 and you knew

Speaker 15 it was something bigger

Speaker 21 oh man now i want to watch it again thank you you know now i want to welcome to the show thank you thank you how you doing so how have you been this is great i love this there are a few people I know who have had more jobs than you and excel at more jobs than you.

Speaker 15 I know many people who have had more jobs than you, but for a bad reason. I don't know many people who have had as many jobs as you have and just done well at that point.

Speaker 21 I was one of those people, though, because at one point I thought there was honor in sort of matching James Brown and the hardest-working man in the show business.

Speaker 21 Once I

Speaker 21 stopped doing everything,

Speaker 21 then a whole new world of magic opened that I never knew of. And one of them is what I call storytelling or directing, which this definitely wasn't on my

Speaker 21 bingo card back in 2005. But if you look at it, everything I've done to this point is preparing for

Speaker 21 this point. Because, I mean, those 40 hours could go the 40 hours of the footage that's set in the basement for five decades.
Yeah, I still don't.

Speaker 15 Wait, wait, wait. Let's just talk about that.
I still don't understand this because nobody has seen all of these performances. Nobody has seen these moments.

Speaker 15 Nobody has seen what happened in Harlem in 69. I need to start with that.
So

Speaker 15 how did you even begin to find 40 hours of footage of,

Speaker 15 it would be like somebody now finding, hey, I found a

Speaker 15 concert. It was Jay-Z and Beyonce and like Michael Jackson and like, just like everyone.
Right.

Speaker 21 And I was in a basic film. I directed this film and I refuse to believe it.
I get word backstage at the Tonight Show that these two gentlemen want to talk to me about these so-called Black Woodstock.

Speaker 21 And I was like, Black Woodstock? And well, I'm thinking of Woodstock. And you're saying there was a black version of that.

Speaker 21 And then I was like, well, wait a minute. I'd like to think that I was a music expert or knew things.

Speaker 21 Like, how come I didn't know that over 300,000 people gathered in Harlem for a collective six-weekend affair with

Speaker 21 Stevie Wonders, Last Dome, B.B. King, Mavis Staples? Like, how come I didn't know about this? And, you know, I was like, call another B? You heard of Black Woodstock at dinner?

Speaker 17 No, I never heard of it.

Speaker 15 And so I don't understand how that's possible.

Speaker 21 I didn't believe it. I didn't believe that it happened.
So the very first meeting, I just thought that these two were trying to just scam me for like tonight show tickets or whatever.

Speaker 21 That's what I thought it was. And then they came by the next week with a hard drive.
And even then, I was like, well, the footage must be bad. Or maybe Stevie had an off day.

Speaker 21 Right, right, right.

Speaker 21 And everything I saw was magic.

Speaker 14 And

Speaker 21 to this day, the reason why, even when I agreed to do this, at first I was just going to compile like 17 songs. Yes.
Wow, like a mixtape, you know, that sort of thing.

Speaker 21 But the curiosity kept burning me inside that, like,

Speaker 21 the question I asked is, is black erasure this easy? And that's the thing. I think oftentimes when, you know, when we speak of like Black Lives Matter or,

Speaker 21 you know, is that racist or not racist? I think people think of the most extreme definition of it.

Speaker 21 Like, in their minds, they're saying, well, I've never once hung somebody to a cross or castrated them or set them on fire. So, I'm not racist.

Speaker 21 But there's other, there's benign levels of racism as well. And even as

Speaker 21 sort of the, the, the,

Speaker 21 sort of the dismissal of like, well,

Speaker 21 we'll pass. You know, we're good.
For a lot of people, their first view of us was either in blackface or mired in trouble or controversy or, you know, getting arrested, getting hosed down and but

Speaker 21 black joy is the component that shows that we're human you know and this could have been that moment had it allowed been you know the spotlight that woodstock had had gotten it was also a crucial time as well you know it's the summer of 69 so many things were happening in america right you know a lot was changing in the country and i remember watching this i I had never seen it.

Speaker 15 I had never seen something like this. To your point, a lot of what you see from that time period is a very one-dimensional view of black America.

Speaker 15 So it seems like black America has only existed in strife for a long time.

Speaker 21 Exactly.

Speaker 15 And only strife, I should mention. And then you watch this and you're like, man, this is, I couldn't believe the scale.
I couldn't believe the party people were having.

Speaker 15 I couldn't believe who was there and how they were there, who was performing and what it signified.

Speaker 15 When you told that story, what do you think the significance of this event was?

Speaker 21 The significance of the event, at least what I got from it, was that this was a community trying to heal.

Speaker 21 And so for me,

Speaker 21 shall I say, a really beautiful

Speaker 21 gander

Speaker 22 into

Speaker 21 the infinite possibilities of what a future is. You're seeing Stevie Wonder

Speaker 21 a mere two years before his

Speaker 21 genius period. You're seeing Nina Simone give one of her very first non-jazz, non-love song, non-Broadway musical performances, like Nina Simone stepping into her activism shoes in real time.

Speaker 21 So you're seeing all these artists, but really you're also just watching the people.

Speaker 21 And that's the thing, like when I say like we were robbed of that, not just as black people, but the world to see, you know, oh, families just like mine,

Speaker 21 just like mine. Yeah.
Happiness just like mine. And

Speaker 21 that's sort of the

Speaker 21 That's sort of

Speaker 21 the missing fiber element in telling our stories from the civil rights period that people don't know.

Speaker 15 You look at America's story over and over.

Speaker 15 It's such a giant country, you know, where if people don't have an interaction with the people on the ground, you don't know a black person, you don't meet a Hispanic person, you don't know, do you get what I'm saying?

Speaker 15 Right.

Speaker 21 If just knowing someone at your job doesn't mean that you're right, and maybe you don't even.

Speaker 15 That's what I loved about this documentary. I think it's to what you're saying, is it showed a joy, it showed a normality, it showed a.

Speaker 21 There's just a human element that

Speaker 21 I didn't even know I was looking for. Like, because I didn't know that this was going to invoke some sort of emotion out of Merlin McCoo as she's watching herself.

Speaker 21 I'm thinking, like, you hosted Solid Gold. Like, how do you remember this very specific show back then? But, you know, when she started to really open up about code switching

Speaker 21 and, you know, something that every black person relates to on the professional job.

Speaker 21 Even I needed to see that.

Speaker 21 Like, wow, even when you're the number one singing group in the world, like, you still have to code switch and you still have to always be on guard and you're never comfortable and you know, you have longings for just

Speaker 13 love

Speaker 21 from your people. Right.

Speaker 15 You just want to be accepted. I won't lie.

Speaker 15 I think you deserve every award that this film has won and is going to win because

Speaker 21 you know what it is, man.

Speaker 15 It's telling a story from history that is lost. It's sharing a joy from history that is lost.
And I think it's something that people need today where you go like, hey, you know, yeah, we can fight.

Speaker 15 Here we can argue. Here can, we can, we can deal with what we need to deal with, but at the end of the day, don't forget joy because that's what makes us human.
So, thank you, man.

Speaker 15 Thank you for being here.

Speaker 21 Thank you for the documentary.

Speaker 15 Thank you. Now, I'm going to watch it again.
I watched the clip and now I'm back again.

Speaker 21 So let's go watch it right now.

Speaker 15 My guest tonight is a Grammy Award-winning musician. You know her from Alabama Shakespeare.
Her debut solo album is called Jamie. Please welcome Brittany Howard.

Speaker 15 Welcome, welcome, welcome to the show.

Speaker 22 Thank you for having me.

Speaker 15 It is truly such a great honor to have you here.

Speaker 15 Not just because I'm a fan of your music, because I'm a fan of how much people are a fan of your music, which sounds like a weird thing.

Speaker 15 But I always love artists that just get people excited wherever they go. Like, have you ever wondered why people love everything you do just beyond the music?

Speaker 22 Well, I like to think I'm just who I am. I'm not putting on any false fronts, and I'm coming up here and just trying to make people feel more comfortable about being who they are and to embrace that.

Speaker 22 And I feel like that's kind of the best thing I can do right now at this moment in time.

Speaker 15 It's just be yourself. Just be myself.

Speaker 15 Thank you.

Speaker 15 And

Speaker 15 being yourself has been really good, you know.

Speaker 15 You have a bunch of Grammys with Alabama Shakes and now with your debut solo album, two Grammy nominations.

Speaker 11 Congratulations. Thank you.

Speaker 11 Thank you. Thank you.
It's been wild. It's been a wild ride.

Speaker 22 You know, I used to work for the post office. I used to work for a Cracker Birl.
I used to work for Shonys. I don't know if y'all know what that is.

Speaker 22 I've had so many jobs and in the back of my mind, I was like, but I'll always do music and I'll always love music, but this might be the best I get for now.

Speaker 22 But I still still got that dream and then being here on a show this is the first time I've ever spoken on the show

Speaker 15 that's wild that's wild having grandma's that's wild it is wild it's crazy you've been on a wild journey and and and it is a scary step to take because you know Alabama Shakes is really successful because they're headlining festivals and you you know you you're selling out smash concerts and and then you go out and you and you create a solo album which is a terrifying stage for any musician to take in their career, you know, to move to that next stage.

Speaker 15 The stories that you write, you know, in the music and the songs and what you're talking about is truly one of the most personal experiences I've heard in songs that you've been on.

Speaker 15 You know, for instance, the song Goathead

Speaker 15 is a story of your mom and dad and how, as an interracial couple, People did not want them to exist. Could you tell the audience what Goathead is inspired by?

Speaker 22 Yeah, Goathead is a story.

Speaker 22 This song started as a story that my mother told me when I was around 14 years old.

Speaker 22 I grew up and I was very lucky to have the ignorance that my mother's white, my father's black, and we all get along for the most part and we love each other.

Speaker 22 And I thought that was going to be my experience in the world. When I got a little bit older, my mom was like, no, no, no, no, it was not easy.

Speaker 22 My mom told me this story about sleeping in her apartment and my father coming to visit.

Speaker 22 visit and when he woke up the next morning to go to work his car the windshield was bashed in and the tires were slashed and slurs written on the car and in the back seat was a goat's head and they basically were saying

Speaker 22 stop this now right stop this love that you guys share and um

Speaker 22 that was hard to hear and it's always been in the back of my mind And it's always been there. And once I wrote this song, I had a chance to release it, you know.

Speaker 22 And I think telling my parents' story, even if it's not my story, I think it's doing them some good too, just to say, this happened, this was wrong, and this is what happened, and I think other people need to hear about this.

Speaker 15 It's a beautiful record. I can genuinely see why it has been nominated.

Speaker 15 Everyone who listens to it loves it, including myself.

Speaker 15 One last part of it that touched me in a way that I wasn't expecting because it's not one of the songs, but rather the title of the album is Jamie.

Speaker 23 Yes.

Speaker 15 Why did you call the album Jamie?

Speaker 22 Yeah.

Speaker 22 I had a sister, you know, older sister. She passed away when I was nine.
She was 13 years old. She had a really rare type of cancer called retinoblastoma.
And

Speaker 22 I lost her at a young age, and she taught me everything about being creative and using my imagination. Because when I was growing up, we didn't have a lot of money.

Speaker 22 We didn't have all the video games and all this stuff. You know, it was just us outside.
And my sister would say, well, you can write a song.

Speaker 22 you can have a good time, or we can go play in this creek, or we can go find snakes. You know,

Speaker 11 I grew up in Alabama, so we was out there in the creek looking from snapping turtles. Um,

Speaker 22 but she taught me how to use my mind to create the world that I wanted.

Speaker 22 And so, when it came time for me to make a record like this, this record is so much of my world and so much of how I feel that it was only appropriate to say, like, thank you and put her name on it.

Speaker 22 Congratulations!

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Speaker 3 Welcome back to the Daily Show.

Speaker 15 My next guest is a legendary musician who has sold hundreds of millions of records throughout his career and just released his memoir called Not Dead Yet.

Speaker 11 Please welcome Phil Collins.

Speaker 11 Wow, thank you for being here.

Speaker 15 I want to talk to you about the book. Is this, I couldn't find another one.
This is your memoir, this is it?

Speaker 11 This is it, yeah, yeah.

Speaker 15 Like, I feel like you've lived many memoirs worth of

Speaker 15 memories of information. Why now?

Speaker 6 Well,

Speaker 6 I mean, I've been wanting to do it since the 90s, you know, and I kind of felt

Speaker 6 at the time is kind of why not? You know,

Speaker 6 I was pretty much doing nothing when I started writing this. I started doing the

Speaker 6 in 2010, I started writing the early chapters. That was the fun stuff.

Speaker 6 Dad, mum, brother, sister. And then

Speaker 6 when it came to the music, I kind of glazed over because it was so dense and putting it in order seemed like a huge mountain to climb.

Speaker 6 So I got together with a journalist called called Craig McLean, who helped me sort through that mud.

Speaker 15 You lived a pretty remarkable life, especially with how you got into music.

Speaker 15 To be telling stories about going to Abbey Road at the height of the Beatles, to be in an environment where you're referring to Eric Clapton by just Eric.

Speaker 15 I mean, there's stories where you say Eric and you're like, I'm sorry, Eric, who?

Speaker 15 And it's like, oh, oh, the Eric Clapton? Do you ever look back and realize how magnificent that was?

Speaker 6 Oh, yes, absolutely. I mean, never a day goes by, really, when I don't appreciate how lucky I've been.
I mean,

Speaker 6 the thing with Eric Clapton

Speaker 6 was that

Speaker 6 the first time I came into contact with him was I was at a bus stop,

Speaker 6 getting the last bus home in my end-of-the-line house in Hounslow, which is a suburb of London.

Speaker 6 And there was a club in Hounslow called The Attic, and I remember hearing this driving in my car, smoking my cigar you know and it was NSU by cream and and I was standing at the bus stop and I was listening to this thinking man

Speaker 6 what another world that is and 25 years later I'm producing him

Speaker 6 you know and he's my one of my best mates so these my life has been charmed like that I've I've played with a lot of my heroes The Abbey Road thing, you know, was for George Harrison's first solo album and Ringo was there, Billy Preston was there, Phil Spector was producing.

Speaker 6 You know, and I was 19 and I was in that environment and

Speaker 6 it's just, it is, it was a wonderful time to be alive, the 60s, you know, because it was all happening for the first time.

Speaker 15 You've now had the opportunity, though, to say yes to an up-and-coming artist who is really following in your footsteps, and that's your son. What is that like now, sharing that experience with...

Speaker 6 Well, it's wonderful. I mean, he played the US Open, he played the shows, I did did three kind of short charity shows this year and he played, and he's a fantastic drummer.

Speaker 6 I've got three sons, you know, the oldest one's 40, Simon, and he's a wonderful drummer and he's got his own career.

Speaker 6 Nick is 15, he'll be 16 by the time we go on the road.

Speaker 6 But poor Matthew, who's 11, doesn't play the drums.

Speaker 15 Well, he probably realised the noise in the house was just... Yeah.

Speaker 15 I mean, that's quite a family to have where everyone's playing the drums, no one's doing guitar or anything.

Speaker 6 I mean, at one point, there was three drum kits in the same room, you know, and he said,

Speaker 6 I'm not going for it, Dad, and I don't feel like a Collins because I don't play the drums, which is sad, you know, when a nine-year-old says that.

Speaker 6 And he said, and besides, Nicholas told me last night that I was adopted.

Speaker 15 So it runs in the family then. Yeah, it runs in the family.
It's a truly beautiful book. Thank you so much for your time.
Thank you for writing it. New single is coming out.

Speaker 15 The memoir, Not Dead Yet, and the singles are both available now. Phil Collins, everybody.

Speaker 15 My guests tonight are legendary musicians and members of the supergroup Prophets of Rage, whose self-titled debut album comes out on Friday. Please welcome Chuck D and Tom Morello.

Speaker 15 Welcome, welcome, welcome to the show. Thanks for having us.
So good to have you. Welcome to you.
It's good to be here. I like this.
A super group,

Speaker 15 two superpowers connecting.

Speaker 17 Three, including Cypress Hill.

Speaker 11 That's true. Yeah,

Speaker 15 that's popular. Let's talk about the name, Prophets of Rage.
Why that name? Because I mean, there were so many variations.

Speaker 17 Sure, well, it's the shortest band meeting we ever had.

Speaker 17 Prophets of Rage is members of Rage Against the Machine, Cypress Hill, and Public Enemy. There is a Public Enemy song called Prophets of Rage.

Speaker 17 So when we were singing, what should the name of our band be? Chuck D suggested Prophets of Rage. He's the prophet, I'm the rage.
Oh, nice. Nice.

Speaker 15 Let's talk a little bit about that rage.

Speaker 15 You have been someone who has been, you've been political for a very long time. I mean, most of your life.
You also worked in politics, which I never knew about you.

Speaker 15 I mean, you worked for a senator in California when you were really young. That's correct.
And after that, you said you never wanted to be involved in politics in that way ever again.

Speaker 17 It cured me forever.

Speaker 11 It cured you.

Speaker 17 Yeah, yeah. I was the scheduling secretary for United States Senator Alan Cranson for two years, and it cured me for two reasons.
One was because it was entirely about money.

Speaker 17 Most of the day was spent putting the senator on the phone with wealthy Democrats, wealthy Republicans, wealthy people who he would ask for money and none of that money came for free.

Speaker 17 But that's not the main reason. The main reason is one day I received a telephone call from a lady.
She was complaining because there were Mexicans moving into her neighborhood.

Speaker 17 I said, ma'am, you can go to hell, thinking I had done the senator's business and I hung up and was great. So she ended up calling,

Speaker 17 I got yelled at for two weeks. I thought to myself,

Speaker 17 if electoral politics are a world where I can't tell a racist to go to hell, then that's not the right job for me.

Speaker 15 A lot of people in music go, you know, stay out of politics and don't get into it because you have fans that buy your music from either side.

Speaker 15 This is not something you have gone for from the beginning. Honest, straight to the point, this is your point of view.
This feels like an evolution. Was it inspired in some ways by Donald Trump?

Speaker 13 No, well, you know, Donald Trump was part of it as

Speaker 13 this came together with Tom basically saying that this

Speaker 13 infuriated them so much that it was

Speaker 13 more about than just tweeting about it or going to social media. We can do something about it.
We can do something about it and what we do musically to bring the noise and make people aware.

Speaker 13 And it's one thing about turning fans off, but one thing we've been is fearless with our music.

Speaker 13 And I was raised, being born in this city, is to be fearless and say what you need to say and say what needs to be said. And that's been pretty much my track line right throughout.

Speaker 17 If you're making music that everyone can agree on, you're probably making pretty f ⁇ king music, my idea.

Speaker 11 Touche, I like that.

Speaker 15 Let me ask you this, though. Let me ask you, this is interesting.

Speaker 15 When you heard, or did you hear that Paul Ryan said he was a huge fan of Rage against the machine,

Speaker 15 did you think to yourself, like, does he know who you are?

Speaker 11 Has he actually heard the lyrics?

Speaker 15 Maybe he he just hears the music.

Speaker 17 Yeah, well, I mean, first of all, there's no political litmus test to being a fan of the bands.

Speaker 17 And one of the most inspiring stories that I hear every day is people come up, they got into our bands because of the aggression of the music, and they were exposed to a different point of view.

Speaker 11 That's totally cool.

Speaker 17 Paul Ryan's point of view, however,

Speaker 17 he does do a lot of raging against women, against gays, against unions, against workers, against the environment.

Speaker 15 So that's his machine.

Speaker 11 Yeah, he has got all men.

Speaker 11 Don't get me wrong.

Speaker 17 He's basically the epitome of the machine we've been raging against our entire career. So while he does, he may use Rage Against the Machine for his PX90 workouts.

Speaker 17 Let's see him.

Speaker 17 Let's get in the pit. You're welcome to any ship props rage show in the pit and let nature take its course.
Oh, wow.

Speaker 13 And you wonder, like, you know, his teen spirit just exploded when he made that statement.

Speaker 11 Yeah.

Speaker 17 Yeah, first of all, you're not allowed. I mean, he was trying to, I don't know what he was trying to do when he said that, but sort of piggyback on some of the coolness or whatever.

Speaker 17 That we just weren't about to let him get away with it.

Speaker 15 Well, what do you want people to take from the music? Because, I mean, you created music in a time when you were responding to something that was happening, you know, you're fighting the power.

Speaker 15 When you look at what's happening now, if you look at that Chuck D and if you look at this Chuck D in this day and age in 2017, have you noticed a shift in the environment, or do you feel like in some ways you are still fighting against the same power, or is it a power that has in some way shifted or morphed?

Speaker 13 I started out in 1986 as a professional during RB. That's Reagan and Bush.

Speaker 11 And

Speaker 13 Thatcher was chopping up the planet.

Speaker 13 Nelson Mandela was in prison.

Speaker 13 There was a wall up.

Speaker 13 2017, you're talking about the President of the United States building a wall.

Speaker 17 So,

Speaker 13 Mr. Mexico, let's build this wall might be

Speaker 13 the statement. But

Speaker 13 the biggest difference is that older people move on and transition and younger people come in. But the stench of racism hovers over and is institutionalized.

Speaker 13 And we feel as musicians that we have the universal language and passport to tell the whole world to be accountable and responsible as you're grooving to

Speaker 13 the grooves and the beats.

Speaker 13 So that's probably the biggest difference is that we can

Speaker 13 we can kind of like synergize with the world's language of how ridiculous it is in some places. The world could connect a lot better than it used to.
What are we going to do with this avenue?

Speaker 13 And right now with Profits of Rage.

Speaker 15 You guys are doing it, man. Thank you so much for being on the show.

Speaker 15 Thank you very much.

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Speaker 26 Okay, Chad, today you're gonna drive the all-electric Toyota BZ.

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Speaker 5 Toyota, let's go places.

Speaker 5 My guest tonight.

Speaker 5 She is the co-author of the new book, No Slam Dancing, No Stage Diving, No Spikes in Oral History of the Legendary City Gardens.

Speaker 5 He is the front man of the butthole service who used to perform often at the club. Here's a peek at the upcoming documentary about City Gardens called Riot on the Dance Floor.

Speaker 23 It was a really filthy club.

Speaker 21 We were robbed while we were on stage.

Speaker 16 I walked into the bathroom and there was this dude

Speaker 16 crumpled up on the floor with blood running down his head.

Speaker 23 It was the most dangerous place to ever go. I was told over and over again: don't go there.
You'll get your head kicked in, skin heads.

Speaker 18 It's just a rough, rough place.

Speaker 5 We called it home.

Speaker 5 Please welcome Amy Edgewolving and Gibbie Haynes.

Speaker 11 Come on out.

Speaker 5 How are you guys? Nice to see you. I think by the way sir, a fitting tribute

Speaker 5 on the arm. Our Dave Brocky, of course.

Speaker 5 A very, very sad situation, but also

Speaker 5 used to come to the club. So let me ask you first.

Speaker 5 I'll ask you, Gibby, first, and then we'll talk about the book.

Speaker 5 This was in Trenton, New Jersey.

Speaker 4 Yes.

Speaker 5 It was,

Speaker 5 by all accounts, hole.

Speaker 27 Absolutely.

Speaker 5 Why do you think such good bands,

Speaker 5 one of the first concerts I ever saw, there was butthole servers opening for dead Kennedys. Why do you think this was a must-stop on these bands' tours?

Speaker 27 It was a place you could play between New York and Philadelphia.

Speaker 7 So it was purely a convenience situation. Absolutely.

Speaker 11 Oh man. Absolutely.

Speaker 5 I thought there was an essence to it that.

Speaker 27 Maybe people just got lost on the turnpike.

Speaker 5 What made you decide to get an oral history of this club? You know,

Speaker 5 I bartended there for a couple of years

Speaker 5 and went there for many more, but I don't think we thought it was a legendary club at the time. No, we didn't.

Speaker 28 We didn't.

Speaker 28 We took it for granted. Right.
And the book is really a time capsule about indie music in the 80s and 90s

Speaker 28 before technology came in and changed everything. I mean, historically it wasn't that long ago, maybe 30 years.
But technology-wise, it was late years ago.

Speaker 28 There was no internet, there were no cell phones.

Speaker 28 And if you wanted to meet other misfits and you know, people who didn't really fit in, you had to go out of your house. You had to go to a club and find find these people.

Speaker 28 And I think the fact that we all went there really stoked our creativity. And we were suburban kids.
We were stuck sort of in the middle of Philadelphia and New York.

Speaker 28 And yet there was this club that was a little oasis for us, that was a judgment-free zone.

Speaker 28 You could go, you could be yourself. You didn't have to worry about people looking down on you.

Speaker 28 And I think that for a lot of us who went there, It was just a way to really express ourselves and really find out who we were.

Speaker 5 Now, these bands, back at this time, were there

Speaker 5 the touring groups, you know, you saw Cro-Mags, Agnostic Front used to play there, Guar used to play there all the time, the Ramones, Bad Brains, all these incredible

Speaker 5 musicians would come through there.

Speaker 5 Were you all, was there, without the internet, Was there sort of an underground circuit that you all knew about? These were all the clubs as you went along the East Coast or the West Coast.

Speaker 5 These are the clubs where this type of music still flourishes.

Speaker 27 Yeah, what they had back then they called fanzines. Right.
And those were circulated around the United States and that's basically how you found out about these different clubs.

Speaker 27 And then there were indie booking agents that would get you into these different places.

Speaker 5 The guy who booked this club, this was one of the more amazing things, was a U.S. postman.

Speaker 28 Randy Nowell. Yes, Randy Now, and he was a postman, and just his love of music was what really pushed him to create this club and this environment.

Speaker 28 I think that's part of it too, that it really came from a place of love. Right.
That it wasn't all about commerce or all about money.

Speaker 5 I'm glad it came from a place of love because inside was mostly punching. I remember there was a good deal of punching.
Although from the stage,

Speaker 5 was that typical? Do you, you know,

Speaker 5 was this unusual to this club, the violence that took place in there? Was that what that scene was at that time?

Speaker 27 The bands were usually immune from the violence. Occasionally, I mean, I've got stabbed on the stage once.

Speaker 19 Sure.

Speaker 27 But generally,

Speaker 5 you didn't really experience that on stage there was a certain amount of respect paid to the band right it was interesting I that's why I liked being behind the bar because there were there were two oases in that there was the bar area and the stage area but in between

Speaker 28 an awful lot of people you still have this buffer you had this buffer at City Gardens and you have it here now yes and and

Speaker 5 Generally after the interviews, I am tipped. It's still

Speaker 12 the same way

Speaker 5 as it worked out. Now,

Speaker 5 you were there

Speaker 5 for a legendary show. This was a show, it might have been 86 or 87, and I don't even know if you'll remember this show.
But show that we have a picture of it from, this was butthole servers on stage.

Speaker 5 That's fire.

Speaker 5 And I don't know if you can see this, Gibby. There's a naked woman behind you.

Speaker 27 No, she's got some, she's got a tea back on.

Speaker 5 Oh, yeah, no, you're right. I'm sorry.

Speaker 11 She does have some underwear.

Speaker 5 And if I remember correctly, and you can tell me if this is wrong, on this night, we used to do all ages shows. So these were the hardcore shows, and you'd have kids there, 12 to whatever.

Speaker 5 But you had a performer who enjoyed

Speaker 5 not having

Speaker 11 fabric. Yeah, touch it.

Speaker 27 Yeah, yeah, yeah.

Speaker 11 Yes.

Speaker 5 And so something happened where they pulled the sound. Do you remember any of this?

Speaker 27 Yeah, well, you know, the main thing, that was really kind of the way every night went for us.

Speaker 27 But the main thing I remember from that show was that after the show was over, I was backstage totally getting bitched at by this hormone craze soccer mom that was telling me about how irresponsible I was for performing that way in front of her 14-year-old son that she had taken there.

Speaker 27 And I was like, what are you doing after the show?

Speaker 27 Just made her angrier.

Speaker 5 I think I could see why that would make her somewhat angrier. It was that kind of anarchy that, in a weird way, I think, spurred a lot of creativity.

Speaker 5 I mean, I remember feeling relief at being able to come to this place and seeing truly anarchic things happen.

Speaker 28 And it was an anything goes atmosphere, and it wasn't, you know, in a big city.

Speaker 11 Okay,

Speaker 4 one place you couldn't go.

Speaker 11 Exactly.

Speaker 28 The best part about that story is after all of this chaos, fire, the band refused to leave. They had to call the police to get you out of there.

Speaker 27 There's only one reason for a band to not leave.

Speaker 5 I think I know what that may be. Jesus.

Speaker 5 He didn't come up with the bag of money.

Speaker 27 I'm thinking

Speaker 28 well they had a clause in your contract that said if you try to burn the place down

Speaker 27 I was waiting for the soccer mom to drive

Speaker 11 come back and see you.

Speaker 5 Waiting for the stab wounds to heal. Well I'm delighted that you put it down.
It was one of the favorite times in my life.

Speaker 5 I really had such an amazing time there and I thank you for all the great shows that were there. You have a show, Carnegie Hall.

Speaker 11 Is that Carnegie Hall Paul Simon song?

Speaker 27 Someone didn't get the memo.

Speaker 5 Gibbie Haynes performing at Carnegie Hall. This is Monday.

Speaker 27 Monday, 31st. Benefit.

Speaker 5 Concert benefiting music education programs. I don't imagine that they light people on fire at Carnegie Hall, but I haven't been there in a while.

Speaker 11 So I'm hoping.

Speaker 5 No slam dancing, no stage diving, no spikes. It's on the bookshelves now.
Gibbie Haynes and Amy H.

Speaker 8 Wolfing. Thank you.

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