We're back with another edition of The Federalist or Radio Hour. I'm Emily Jashinski,
culture editor here at the Federalist. As always, you can email the
show at radio at the Federalist dot com, follow us on x at FDR
LST, make sure to subscribe wherever you download your podcasts, and of course
to the premium version of our website as well. We are honored to be
joined once again by one of our very favorite repeat guests, and that would
be John Androssik, a Grammy nominated singer and songwriter A five for Fighting,
who is out with a new song and video. It's been out for a
while now. A lot of people have probably seen it and heard it.
It's called Okay. If you haven't watched the video, head over to YouTube
and watched the video at John, I have a lot of questions for you
about the video, in particular because it is very powerful. But thanks for
coming back on the show. Out. Thanks, Emily, always a pleasure
to talk to you. Yeah, of course, Now tell us a little
bit about like the video has footage from October seventh in it and is very
point. Can you tell us a little bit about your decision to use some
of that real raw footage from October seventh in the video to go along with
the song. Yeah. I think it was very hard to make that video,
as you can imagine. I think we're all horrified by the events of
October seventh. Reminded me of nine to eleven, the Afghan withdrawal, all
that shocking just atrocities again, and then the aftermath of all our institutions morally
collapsing in the media and the academia and on the hill. Frankly, so,
I thought it was important to make a video that kind of documented what
happened, you know, and what's continuing to happen, not just my opinion
or something I think. You know, I'm not in the video. And
I also think it was important to at least show some footage of the atrocities,
not graphic, but but but just for the sake of the victims and
the families. I think similar I had the same the same challenge with the
Afghanistan video of how, you know, how graphic do you want to put
it in there, because of course you're going to get all the warning signs
from from the youtubes, which which is appropriate, but I think you have
to tell it like it is and to a certain degree, so I think
putting the images of some of the concertgoers being you know, taken hostage,
some of the cars driving down the street being basically shot up by Hamas terras,
I think it's important for us to not put our heads in the sand.
And I don't think you need a lot of that, but I think
we needed some of that as well as as well as some of the other
events, you know, the President's testifying on the hill, you know,
some of the death culture that you see in Gaza and some of the terrorists.
You know, countries that that that support that. So we try to
get it all in. But it was really tough to make and it's still
hard to watch. But I think the one reason it's resonated is because we
have, i think, kind of said in music and in images what happened,
and many folks in Israel have not seen that from the arts, so
I think they were grateful for that. The title of the song again is
okay, And I found that so interesting because on a lot of levels,
I know that resonates with people across the political spectrum. Right now, things
don't feel okay, not just in foreign policy, but in domestic affairs,
and the video touches on that as well. You talked about some of the
presidents of Harvard Penn MIT testifying before Congress. John, could you just take
us a little bit into your writing process here? How you landed on this
theme of we are not okay? Well, it was started by Mayor Eric
Adams of New York. You know, I know a lot of people have
critical things to say about him, but he I think stood tall after October
seventh, you know, he came out and made a speech saying, you
know, when you have within twenty four hours thousands of people in Times Square
celebrating beheadings of babies, raping of women, kidnapping of grandmothers, something is
wrong. We're and he said in his speech, you know, we're not
all right, something's deeply wrong in the culture. And that resonated with me,
and it certainly over the next few weeks and months, you know,
seeing what was happening in our colleges, seeing the un basically become a Homas
you know, sycophant, you know, seeing Rashida Talib and the Homas Caucus
on the Hill basically become hamas spokesman. Seeing the media very quickly the BBC,
the AP again take up this kind of harmas you know, moral relativity,
anti Semitic narrative. I think that all was overwhelming and stunning and unlike
Blood on My Hands or can One Man Save the World? When I thought
when I sat down to write this, it was a different process because I
knew the tone had to be right. Those songs were basically just kind of
screams of you know, for Afghanistan, just anger and shame at our government
and can one man save the world? More of kind of inspiration of this
little guy, this little country saying I'm not going to take your plane ticket
to evacuate my people, probably dead in a few weeks with my kids,
but I'm going to stay here and fight for freedom. So but this one,
I knew it needed the right tone. So I spent some time listening
some some classical classical funeral marches, you know, spent a lot of time
kind of dabbling on the piano of trying to get get the tone right.
And it's interesting. Initially it was just a piano vocal with me singing,
but I also wanted to add kind of the pain, the kind of the
human context, and if you listen to a lot of Jewish music, back
to Fiddler on the Roof, Right, there's like a string, you know,
there's kind of a string instrument kind of playing through it, kind of
representing the human side of it. So I call my buddy Dave, who's
a virtuoso cello player, and we brought him over here. And it was
interesting because he's such a beautiful player. He would play to it and it
would be wonderful to listen to. But it was too pretty. It was
beautiful, it was, and so so I said, no, man,
we need to like we need the pain, we need the like, the
insanity, the mania, the family. And so I actually showed him some
pictures of some of the family members of the hostages, and as soon as
he saw that, he played the part that you hear. So it was
really kind of a fascinating, you know, journey to create the song.
Right. The lyrics came very quickly, you know, the first the first
line, this is the time for choosing That was easy. That you know,
we're not okay, as you said, that applies to things way beyond
Israel and Almas. So the lyrics came pretty quick, you know, calling
out Harvard by name, that was easy to do so, but the music
I think was really important, and I think that's why again, why it's
resonating around the world, because I think the tone kind of reflects, you
know, kind of the darkness of our society, you know, of the
fact that this is really is a battle for civilization against those who want to
turn down, to tear it down. And on the surface, it's about
Israel Hamas, but it's really not. It's about the rest of us and
the decline of our cultures and how we're losing a generation of children as well.
Yeah, and I know John that you have a lot of thoughts about
policy, but the song's not really about policy. You described earlier the death
culture that we see in Hamas, and obviously we see it in other places.
You've worked so closely with people who are desperate to leave the death culture
of the Taliban in Afghanistan. Can you talk a little bit more, a
little bit more about what you've seen, what you mean when you describe death
culture. Yeah, you know, the last thing we put in the video
was the images of you know, gods and boys at five years old,
you know, with guns in their hands, and then at ten years old.
No terrorist training, you know, at a fifteen years old, you
know, kind of growing up in this culture where you're taught that you know,
you're you know, to reach kind of nirvana and your goal in life
is to kill Jewish people or kill, just kill and murder. And I
think, you know, one point, you know, one reason to make
this video is say this is happening, this is bad. But I think
we also have to talk about what do we do? You know, what
are some action items we can do? And I think if we don't address
the death culture that is in many of these societies, there is no long
term solution. But I also think we have to recognize the heroic Palestinians and
voices who are calling for change. You know, Emily, the hero of
this video is a Palestinian woman. You know, I have a line in
the song we need every good woman, every good man, and I thought
a lot about who do I put there? You know, you can put
so many people there, and I put a Palestinian woman who was calling out
Hamas for stinging all the humanitarian aid. You know, I'm like, this
is the most courageous woman I've ever seen. Because she'll probably I don't know
if she's even with us anymore. You know, I'm sure Hamas did not
appreciate that, and also put in the son of the Hamas leader who's calling
out the deaf culture. So I think unless we and it's a generational battle,
unless we address this culture, there is no kind of way to turn
the tide. And I think it's not the real scary thing is you're not
just seeing it in Gaza, You're not just seeing it in Kabul. You're
seeing it on TikTok. With American kids and our colleges, we're over half
of our kids side with Hamas over Israel. Twenty percent believe the Holocaust never
happened, and seventy percent call Israel an oppressor. So if that doesn't scare
the hell out of it everybody and force us to wake up and address this
head on, I don't know what will. That was the perfect segue into
one question I wanted to ask, which was what surprised you most? You
have a lot of stuff in the video and in the song. What surprised
you most? If anything? I mean, you've been working in this space
for a while, so maybe you weren't surprised. I wasn't particularly surprised,
although the depths of some people's depravity when it came to commentary and reaction.
You know, it's always shocking. But for you, was there anything was
at the college presidents? Was there anything that was especially a standout? You
know, it's all those things, and this this almost sounds minor, but
but this really, this really still sticks with me. You know. I
you were probably like five years old, but you know, we had the
concert for New York in you know, in New York City after nine eleven,
and I remember walking down six sixth Avenue and you saw, you saw
a missing host of people who were in the towers, and it broke your
heart because it said missing, but you knew they were never coming home.
And you come on every store window, every you know, every trash can
there are these missing posters, and cant imagine people walking down the streets and
ripping those down, ripping those down, and you know, tearing them up
and throwing them in the trash. And that really sticks with me, you
know. And and and again it was it wasn't like Muslim activists. It
was white college girls at USC, you know, it was it was just
everyday people just ripping these posters of two year old babies who are hostages down
and I thought, you know, you know, you expect to have a
few nut jobs in Congress. We know that the college you know, academy
has been you know, rotting for decades. We know the UN is a
corrupt entity, and we know there's you know, idiot politicians and nations.
But to see society and it wasn't one or two people, just just this
depravity that really scared me and made me depressed. And I know it sounds
like a small thing and all these big, you know, global things,
but sometimes these these little, these I don't want to call them little,
these everyday people doing these things you couldn't imagine, really tells us more about
where we are, and that the fact we really are not okay, History,
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slash Federalist to register Hillsdale dot edu slash Federalist. It strikes me as you're
talking, I wonder, you know, how do you think about the connections
between Afghanistan and the attack on Israel in October seventh. A lot of people
have said, you know, the failure and the display of failed American leadership
in Afghanistan emboldened our enemies in Iran and emboldened our enemies all across the Middle
East, to who saw weakened American state and realized that Russia as well.
Maybe you can talk about this, John two lifting sanctions on the North Stream
pipeline, total total display of weakness on Biden's behalf. Is there a common
thread through all three of these tragedies that you've now written songs about. I
think anyone who denies that is either just blinded by their tribalism or just incredibly
foolish. Of course, when you abandon your citizens to terrorists, and you
call it an extraordinary success. And there's no accountability in your government, especially
to your leaders who told you that it would take four months for Afghanistan to
for Kaboula fall and it fell in a week. Of course, that's not
going to put a pause on Putin's ambition. And when you tell Putin,
well you can, you know, you can have a little invasion, just
don't make it a big one again. I think you know, the evil
actors in this world have been looking for a window now in the video,
the evil I said, evils in the march. It's all connected. I
have Hamas, I have Komani, I have Putin, and I frankly have
the General Secretary of the UN because I believe their partners in this as well,
with with with their actions, and of course Putin knew there would be
no pushback. And then as soon as you know, the war started with
Ukraine and and you know Putin now in the stalemate. I'm sure he had
to say in this attack on Israel because he wanted the spotlight off Ukraine.
And it worked, it worked. Ukraine has kind of fallen off the page.
You know, who knows that we're going to fund them. So it's
all connected. But it really gets back to, you know, when America
is weak, the world blows up, and certainly Afghanistan. You can go
back to prior presidents who made mistakes. But I you know, and and
and to me, all these songs are moral songs. They're not political songs.
They'd be the same songs if there was a Republican president. But to
ignore the fact that kind of the weakness of this administration and now trying to
basically stab Israel in the back by forcing a ceasefire on them, it's truly
disgraceful and frankly, Emily, I think the way it's going, the next
Domino will be Taiwan because if you're if you're China and you've been waiting for
a moment, you know, you don't know what you're going to get a
year from now, but you know what you've got now. So I think
it's probably been you know, never more likely that the China will move on
Taiwan because we have this paralyzed, feckless leadership that you know, that goes
back and forth every day on these issues, and the evil actors know,
you know, they call the accesses evil and people are like, oh,
that's kind of dramatic whatever. But if we don't understand that that is exactly
what's happening and it's all connected, then I think we're going to lose this
thing. So so again, it's a long answer to your question, and
I hate to use, you know, to call out one side or the
other, but I think if we don't at least acknowledge that, then we
can't prepare for what's coming next. And you know, Ronald Reagan was criticized
intensely for using the phrase access of evil, although he was always very careful
to distinguish between Soviet leadership and the Soviet people. But you being, having
that sense of moral clarity is partially what allowed Ronald Reagan and Margaret Thatcher in
the West to finally take the stand that undid unraveled the evil empire of the
Soviet Union. You know, I put you know, when I was writing
the lyric, you know, I had to line evils on the march,
and I'm like, well, that's a little kind of maybe that's a little
cheesy, and that's a little you know, over the top, but it
is it is. And again, I think that's why so many people,
especially in Israel, have have appreciated this video. You know, when Israel
shared the video on their social media, I got a very quick sense within
hours of what Jewish people around the world deal with every day, the vitriol,
the death threats, all that stuff. And I think this kind of
desire in the culture to have context for everything, you know, but you
know context, you know, if if the homositrocities, you know, as
we talked about, you know, and just lately you heard about some of
the rape atrocities in front of families. And I don't want to get too
graphic, but if that's not evil, nothing is. And if we can't
call that evil, then we're moral cowards and and we we can't stand up
to this, this global threat. So so yeah, I'm kind of like
going off tangent here, but but I do think, you know, there
has to be there has to be a time for choosing, and it's not
it's now. Uh, we can and bury our heads in the sand.
We can't be afraid to be canceled. The fact that the music industry has
been deathly silent on this is a historical shame to our industry that likes to
pride itself on standing on a soapbox and lecturing everybody about human rights. You
know, this is the music industry of Live Aid, of Sun City,
of the Concert for New York, and so many musicians like to lecture us
on the moral issues of the day, and the fact that we've been so
silent as an industry is incredible. That has surprised me, if maybe it
shouldn't have. That has probably been my most depressing aspect of this whole thing.
To see the silence of the artists. It was any other group besides
Israel, we know everybody would be out screaming on their social media. And
to see the actual anti Semitism that does exist and the cowardice that does exist,
that has been incredibly, credibly depressing. But it is what it is,
and we have to stand up to it. And we're creating further artistic
efforts to use the arts to get to the kids, because that's the only
way we change the narrative and change their minds is through the arts. No
speech, No politician can do that. John tell us what the response has
been actually within the music community, and maybe not people reaching out publicly,
but maybe privately. How have people responded since you released. Okay, Yeah,
it's interesting. The music press has shunned it like they did Afghanistan,
which is not surprising but shameful. Many of these people who run the Rolling
Stones of the world are Jewish, and it's not just my song. I
did get many emails and texts from top executives in the industry, top ten
executives in the world, who were very grateful, and some of them have
been outspoken to a certain degree with some letters. There's a group out here
called Sorry, I'm trying to voices for conscience that are music industries folks that
have said stuff. And I got a lot of folks saying thank you for
saying that. I agree with you. But my question was, why can't
you say that on your social media? And I talked to some folks,
you know, who are work with iconic artists, and I'm like, what's
going on, and they're like, well, they're scared for themselves, they're
scared for their families. They don't want their concerts protested, which is all
true. I see that with kind of what I'm doing. But my response
to them was, you understand those were the same arguments as nineteen thirty eight,
you know, that's how we got here in the first place, and
every voice makes us all stronger. So so it's been it's been kind of
a frustrating response from the endian because I'm like, if you believe Hamas is
evil, can't you say that? Why is that so hard? I saw
a speech. I'm not going to mention her name because I don't want to
start calling names. An iconic Jewish singer who called out anti Semitism the other
day, which is great, but she couldn't mention the word Hamas. She
couldn't mention the word Israel. You know the Grammy statement. Everybody was so
excited about the Grammys recognizing the Nova concert and I'm like, I'm like,
okay, But basically the message was don't rape and pillage and murder people at
a concert. A concert a safe space. I'm like, well, shouldn't
your home be a safe space? Shouldn't driving down the street be a safe
space? If you border a country, shouldn't you know, shouldn't your community
be a safe space? So all these statements are so lawyered and and constructed
to not offend, and all that does is prop a Hamas and the evil
actors. So it's been very frustrating, but hopefully, hopefully we're starting to
see a tie change. You know, today the cover of Time magazine,
not a conservative outlet by any means a has a picture of the rise of
anti Semitism, so, you know, and we're working on some projects to
use the arts on a global scale, so hopefully things might be changing.
But yeah, Emily, again, sorry for the long answer, but it's
been incredibly frustrating. And I have to imagine that's different from when you got
into the industry. You know, you mentioned Live Aid the concert for New
York. It seems like a change. Well, it's a fascinating cultural study
to see what's happened to our country in the last twenty years with social media
and the cancel culture and the woke culture and the oppressed culture. How all
of a sudden, everybody's scared to hell. You know, they're scared to
death. They're scared to say anything, they're scared to stand for anything.
Their agents and managers are saying, you can't say anything unless it fits the
narrative of the times where you get invite it to every party. Now you
know, you're part of the virtue signaling crew. And here's what you can
talk about. It's almost like a career move. It's like, Okay,
we're gonna we're going to talk about these issues that are very socially acceptable within
you know, within the woke world or the the world that that that people
like to virtue signal in. But don't you dare condemn hamas about you know,
beheading babies in front of their present, their parents, or you know,
God forbid what might happen. You know, there's a few, you
know, Michael Rappaport, I know, Mike pal Patty Heaton has been amazing.
I'm actually going to see Deborah Messing this Saturday at an event here.
So there's been a few. But of Jesus Christ, it's point oh two
percent, you know, of the industry, and and again, I think
that just speaks to what we're talking about. In all aspects of our culture,
we are not okay, something's deeply broken, and of course we that
in our politics as well. You know, we talked a little bit before
going to air about the songs that you've now written, and you know,
they're not political, they're moral, but they're on big political topics, broad
political topics, and Jike, you just talk a little bit about how unexpected
that was for you. You know, It's so funny. I sit here
and I like talk about how I disdain these celebrities who get on their soapboxes
and lecture us about world issues and moral issues. And here I am with
my third song on this. So I certainly understand. I'm you know,
I'm a hypocrite to a certain degree. But you know, I have a
lot of dribble. Yeah, you know, thank you. You know.
I've always had a worldview that kind of you know, I had a song
called what kind of World do you want? You know, and it wasn't
it wasn't sane, this should be the world, but it was talking about,
you know, the world that we have, the world we're leaving our
kids. So I've always had kind of a larger view on these things.
Of course, after the Iraq War, you know, Superman became very important
for our soldiers and one hundred years, and I've spent the last twenty years
kind of doing stuff with the USO and Garysonese Foundation, and so I've had
a great kind of relationship and honored to meet our troops. So I've always
cared about freedom and all these things, and I wrote songs like freedom Never
Cries. I wrote songs about Note to an Unknown Soldiers. So I was
talking about freedom, and I was talking about, you know, our troops
and just kind of ways that there wasn't kind of any argument to it,
you know, at least for me. So support our troops and freedom's good.
But the Afghanistan song really just came out of nowhere. I think I
was just so angry and disgusted, and my whole mindset of my kind of
adult life was that politicians can do crazy things, you know, they can
do things that are moral, they can do things that are you know,
in saying, but our military leaders are the adults in the room, you
know, when things get really bad, we can count on them to do
the right thing. And I think when Million Austin and those guys came out
after Afghan Matral and started saying this is an extraordinary success and there's no you
know, boy, you know, even Kirby you know, you know,
a few months ago saying what chaos in Afghanistan? When they started playing the
political line, I think it was a shell shock to my world that this
safety net that I always expected to be there was not there. And that
many of our military liary leaders are just political actors like the politicians themselves,
so that really scared me. And the fact that some of my friends were
going down in Afghanistan risking their lives to rescue our citizens. That basically created
this primal yell, which was that song. You know, I typically don't
write, you know, those kinds of songs with the guitar. Those are
not you know, I'm the guy writing the piano ballot, so that one
was just a primal yell. And then to see the response for veterans who
were frankly felt so alone that nobody was feeling their pain. That made me
think, Okay, there's there's important reason to do this. It's not gonna
be a hit song. It's not gonna sell any records. It'll probably cost
me, you know, with some opportunities in the business. I certainly lose
money on it, but I saw it it make a huge difference with a
select group of folks that I love, which are veterans, especially our Special
Forces veterans. You know, Emily, I'm saying seeing the exact same thing
with this Israel song. I've gotten thousands of emails from Israelis and Jewish people
around the world saying thank you. I felt abandoned. Where are the artists?
You know, we've staned, we marched for civil rights, we stood
with everybody. So when we're attacked, where is everybody? Thank you?
Thank you for writing the song, and that we're not crazy, you know.
So I think these songs have a unique way to make a difference,
even though again I hope I never had another one. I take no joy
in it, but I do see why they matter. And I also think
for history's sake, you know, twenty years people can listen to these songs
and maybe get a different slice of what they're being taught about the Afghanistan withdrawal,
about the Ukraine War, and about Hamas and Israel. So I guess
that's kind of why I felt the need to do it and continue to try
to talk about these things that I think willly affect the future for everybody,
and particularly our children. You know, I keep talking about our children,
and I so worry we're losing our children. Inflation's not going anywhere. The
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Street podcast with Chris Markowski on Apple, Spotify, or wherever you get your
podcast. Speaking of which, John, you're going on tour, and you
also have the National Music in the Schools program that you're working on. Yeah,
tell us a little bit about that project. It sounds excellent, It's
very exciting. Yes, we'll be on the road end of March and through
April with the amazing Fire for Fighting String Quartet and we will be playing Okay
as well as as well as the one hundred years in Superman songs. About
a year and a half ago, me and a friend, philanthropist from Chicago,
Kaylee Tullman, decided to go into an inner city Chicago school called Farragut
Career Academy that didn't have an music teacher. They'd lost their music teacher and
when I was in fifth grade, we lost our music funding, and my
mom volunteered at our Vang Elementary and started putting on musicals, and fifty years
later, all the kids in those musicals still talk about how that made a
huge difference in their lives. And me and Kayley went into this school because
they'd lost their music teacher, and we wrote a song together. I wrote
a song with the kids called let Music Film My World. And the idea
was to write a song, record a song, give them a whole experience
about what it takes to create a song, and raise money for a music
teacher for that school, which we did. We have quarter million dollars for
a teacher at Argut Career Academy for three years. And I was just there
filming a week or two ago, and it's just wonderful to see a teacher
coming back into that classroom. And we wanted to take that to a bigger
national level, and that's what we're doing. We haven't announced it yet,
but because it's just you and me here, Emily and all the federalists listeners,
so I love I can't think of a better place to kind of go
break the news. But we are in a few weeks you'll start hearing about
it. We have an entity called that Music Film My World, which supports
getting a music teacher in every school. We have four million kids that have
no music teacher, and we're having a Music Matter Challenge and it's going to
be like the Ice Bucket Challenge, where people can tell a story about a
music teacher or someone who matter in their life, perhaps sing a little bit
of the song, upload it, and we'll have winners. We'll have a
school winner, and we'll have a Grand Prize winner and we'll work with them
to find a school that needs a music teacher and have another music teacher in
a school. And it should be a lot of fun. Emily, I
see your guitar back there. I look forward to you your entry into the
Music Matters contest. But it'll be a lot of fun. Certainly people have
to be singers, but you'll be hearing more about that in the next in
the next few weeks, and I'm excited to do something fun. You know,
we're still working on this Israel song. We have some big projects that
I think will impact globally, so at the same time, to work on
something where we're singing and we're getting music teachers for kids, and we're putting
a highlight on how music is magic that also brings you know, that'll bring
some joy to my to my days, and it should be a lot of
fun. John, I'm really honored that you talked about that here because it's
just such an incredible project, really really special. It's true. I mean,
my high school band teachers, they created such a space for creativity that
you don't get into math class and that you know, when you're a teenager,
you don't get with your parents. You know, you can sort of
just have fun and you know, bang on the drums and do whatever you
want. So it's I'm really excited to hear other people's stories because they they
can. Music teachers can shape your world in really powerful ways. What an
awesome project, John, We're very excited. Let music film my world.
Let music film my world. With music in the world, it's a better
world. Amen to that. John on Rassic going out on tour. Make
sure that you check out what's the website. John. Five for fighting dot
com for fighting dot com, John on Rassic on Twitter, five for fighting
music on Instagram, five for fighting Facebook. And I really appreciate you know,
folks can find the Okay video everywhere and every everybody who shares it.
You know, your help move the needle and I'm grateful for that. Don't
take a look, folks. All right, John, thank you so much
for coming back on the show. Thank you, Emily. You've been listening
to another edition of the Federalist Radio Hour. Emily Drshenski, culture editor here
at the Federalists. We'll be back soon with more. Until then, be
lovers of freedom and anxious for the friend, earn the Faber reason. Then
ain't it away? M