1
00:00:00,120 --> 00:00:02,720
Speaker 1: It really is about sharing stories. But the question is,

2
00:00:02,799 --> 00:00:05,839
as the listener of podcasts, what kind of story are

3
00:00:05,839 --> 00:00:09,480
you willing to digest today in this moment of now.

4
00:00:09,839 --> 00:00:11,720
That's why we give you a choice on Arrow dot

5
00:00:11,759 --> 00:00:15,640
net A R r Oe dot net. Enjoy your exploration.

6
00:00:16,120 --> 00:00:20,320
How are you doing, Lucas, I'm doing absolutely fantastic. Boy.

7
00:00:20,320 --> 00:00:22,120
I'll tell you what you have been on a journey.

8
00:00:22,399 --> 00:00:24,960
I can't be the only radio guy or somebody in

9
00:00:25,000 --> 00:00:27,800
the art world that isn't sitting here going Thank God

10
00:00:27,879 --> 00:00:30,559
for people like Lucas who are taking the time to

11
00:00:30,760 --> 00:00:32,719
dig in where we really need to be.

12
00:00:35,159 --> 00:00:36,520
Speaker 2: I just want to give you a heart what a

13
00:00:36,560 --> 00:00:38,039
wonderful intro. Thank you very much.

14
00:00:38,560 --> 00:00:40,840
Speaker 1: Well, I mean for you to get this itch or

15
00:00:40,880 --> 00:00:44,039
this urge to be able to grow forward with the

16
00:00:44,679 --> 00:00:47,840
limited knowledge that we have of AI technology. So when

17
00:00:47,880 --> 00:00:51,079
you say unfinished, do you mean we are unfinished with

18
00:00:51,240 --> 00:00:54,039
tay you know, the learning process process of it or

19
00:00:54,079 --> 00:00:55,399
the music is unfinished?

20
00:00:57,240 --> 00:00:59,000
Speaker 2: Well yes to both. Errow.

21
00:00:59,560 --> 00:01:03,399
Speaker 3: The the learning process, the process of iterating technology, and

22
00:01:03,439 --> 00:01:05,959
the process of creating music as a as a species

23
00:01:06,000 --> 00:01:07,920
and as a culture is never finished.

24
00:01:08,280 --> 00:01:15,159
Speaker 2: The book is about my It's a little bit of auto.

25
00:01:14,719 --> 00:01:16,680
Speaker 3: Biography of projects that I did a few years ago

26
00:01:16,719 --> 00:01:19,480
where I finished Schubert on Finish Symphony with artificial intelligence,

27
00:01:19,879 --> 00:01:22,239
and that project started being asking a lot of questions

28
00:01:22,280 --> 00:01:24,439
about the nature of AI, and the nature of technology

29
00:01:24,640 --> 00:01:25,640
and the nature of music.

30
00:01:26,799 --> 00:01:29,680
Speaker 1: Now when you step into the world of Franz Schubert

31
00:01:29,959 --> 00:01:32,840
for listeners that are just discovering music every day, because

32
00:01:32,879 --> 00:01:37,000
they do, let us know who mister Schubert's is in

33
00:01:37,319 --> 00:01:40,480
the way of understanding why you would dedicate so much

34
00:01:40,560 --> 00:01:42,760
time into such a project, Because to me, I think

35
00:01:42,760 --> 00:01:44,840
it's a beautiful project. But I'm also the one that

36
00:01:44,840 --> 00:01:46,920
went in and did the research, and I've studied everything

37
00:01:46,959 --> 00:01:48,560
inside Unfinished.

38
00:01:50,719 --> 00:01:54,439
Speaker 3: Thank you, So you know you had more You had

39
00:01:54,439 --> 00:01:56,319
more knowledge of friend Schubert than I did when I

40
00:01:56,319 --> 00:01:57,079
started this project.

41
00:01:57,159 --> 00:02:01,959
Speaker 2: Oh good bit of research. I've still done quite a

42
00:02:02,000 --> 00:02:02,920
bit of research on him.

43
00:02:03,319 --> 00:02:06,239
Speaker 3: But this was a you know, because the technology is

44
00:02:06,239 --> 00:02:09,960
so amazing because of the ability one of one of

45
00:02:10,000 --> 00:02:12,000
my one of the things that makes me stand out

46
00:02:12,000 --> 00:02:14,120
as a as a composers that I'm able to work

47
00:02:14,280 --> 00:02:17,560
very fast. And this project, the Unfinished Symphony, was required

48
00:02:17,599 --> 00:02:19,719
someone who could write a symphony at a high level,

49
00:02:20,039 --> 00:02:22,879
very quickly. So you know, I knew of Schubert from

50
00:02:22,879 --> 00:02:27,159
my studies, but he was one of the most interesting composers.

51
00:02:27,199 --> 00:02:29,719
Speaker 2: He was the last of the Vienna.

52
00:02:29,439 --> 00:02:33,960
Speaker 3: School composers, so you know, from Haydn to Mozart to Beethoven,

53
00:02:34,159 --> 00:02:34,719
Schubert was.

54
00:02:34,719 --> 00:02:35,240
Speaker 2: The last one.

55
00:02:35,280 --> 00:02:38,639
Speaker 3: He was taught by Antonio Salieri, who just to be

56
00:02:38,800 --> 00:02:41,479
very clear, did not kill Mozart, despite what the movie

57
00:02:41,520 --> 00:02:44,560
on the Days which I read. And he was of

58
00:02:44,639 --> 00:02:47,159
that slow but he was really sort of the bridge

59
00:02:47,199 --> 00:02:50,800
between those composers and the more romantic, the more modern

60
00:02:50,800 --> 00:02:55,719
composers like Tchaikowsky. And he was incredibly prolific. He wrote

61
00:02:56,759 --> 00:02:59,919
on more music in his eighteen active years than Jsbot

62
00:03:00,039 --> 00:03:03,439
wrote in about fifty act of years, and pretty much

63
00:03:03,479 --> 00:03:04,360
all of it is amazing.

64
00:03:04,560 --> 00:03:06,080
Speaker 2: It seemed to just pour out of him.

65
00:03:06,560 --> 00:03:09,439
Speaker 3: And he died at the age of I believe thirty

66
00:03:09,479 --> 00:03:11,199
four of complication.

67
00:03:12,680 --> 00:03:12,919
Speaker 2: Wow.

68
00:03:13,639 --> 00:03:16,400
Speaker 1: What I find so inspiring is is that, first of all,

69
00:03:16,439 --> 00:03:19,199
I love the idea of taking a seed from the

70
00:03:19,240 --> 00:03:22,080
past and replanting it in this modern day generation, which

71
00:03:22,120 --> 00:03:24,560
is what you've done. But now to make that collaboration

72
00:03:24,680 --> 00:03:27,280
with modern day technology such as AI, to you know,

73
00:03:27,360 --> 00:03:30,360
to create recreate this. What did you learn as a

74
00:03:30,400 --> 00:03:34,240
student of music, Because in reality versus that AI technology,

75
00:03:34,560 --> 00:03:36,960
you're the one with the emotion. You're the one with

76
00:03:37,080 --> 00:03:40,520
everything that we brought to the party. It's just sitting

77
00:03:40,560 --> 00:03:42,240
there reading numbers AI.

78
00:03:44,039 --> 00:03:45,960
Speaker 2: Well errow, I actually would.

79
00:03:46,159 --> 00:03:48,120
Speaker 3: I'm going to turn that around and say that you,

80
00:03:48,400 --> 00:03:50,080
the audience, are the ones with the emotion.

81
00:03:50,879 --> 00:03:51,800
Speaker 2: You know, I can.

82
00:03:54,439 --> 00:03:55,919
Speaker 3: I can make all the plans that I want, I

83
00:03:55,919 --> 00:03:58,159
can write all the music I want. I have a

84
00:03:58,199 --> 00:04:01,439
pretty good idea of how certainly musical gestures and musical

85
00:04:01,479 --> 00:04:04,400
colors and musical textures will affect an audience, But I

86
00:04:05,159 --> 00:04:08,439
really don't know, and nobody knows us. Yeah, so you know,

87
00:04:08,599 --> 00:04:12,599
we put out there whatever we think is going to get.

88
00:04:12,439 --> 00:04:14,919
Speaker 2: The best results, and then we sit back and seeing

89
00:04:14,919 --> 00:04:15,680
with the audience thinks.

90
00:04:15,719 --> 00:04:17,519
Speaker 3: And you know, I guess my hot take is that

91
00:04:17,759 --> 00:04:20,160
I think art is not art until someone else reacts

92
00:04:20,199 --> 00:04:23,120
to it. And that's what makes it a piece of artist,

93
00:04:23,120 --> 00:04:27,000
That it's a collaboration between any human who encounters it

94
00:04:27,040 --> 00:04:28,199
and the person who created it.

95
00:04:28,240 --> 00:04:29,920
Speaker 1: Now, Lucas, you know how it is when it comes

96
00:04:29,959 --> 00:04:32,040
to music. You kind of dibby dabble in the very

97
00:04:32,079 --> 00:04:34,079
beginning of it, thinking is this really what I'm supposed

98
00:04:34,120 --> 00:04:35,879
to be doing now? Because I'm about ready to dedicate

99
00:04:35,920 --> 00:04:38,600
my life to a whole, entire music project. How far

100
00:04:38,639 --> 00:04:41,000
did you have to go into just testing the waters

101
00:04:41,160 --> 00:04:44,480
before you decided inside your heart, Lucas that oh my god,

102
00:04:44,600 --> 00:04:46,480
this is it. This is what I'm going to do.

103
00:04:46,680 --> 00:04:48,199
I don't know it now, but I'm going to write

104
00:04:48,199 --> 00:04:49,399
a book called Unfinished.

105
00:04:51,639 --> 00:04:54,639
Speaker 3: Well, if you had asked me when I was in college,

106
00:04:54,879 --> 00:04:56,399
you know, a lot of people don't know this about me,

107
00:04:56,439 --> 00:05:01,480
but I actually went to school to play lacrosse one semester.

108
00:05:01,800 --> 00:05:04,000
I switched over to music school after one semester of

109
00:05:05,439 --> 00:05:08,959
majoring and you know, polysci and whatever, and.

110
00:05:09,560 --> 00:05:11,720
Speaker 2: I didn't really I don't know.

111
00:05:11,759 --> 00:05:13,480
Speaker 3: If you had asked me at that time, was I

112
00:05:13,519 --> 00:05:16,120
going to write a symphony? I would have seemed very

113
00:05:16,160 --> 00:05:19,399
foreign to me. I have always tried to write and play.

114
00:05:19,439 --> 00:05:21,279
I'm a guitar player. I've always tried to play and

115
00:05:21,360 --> 00:05:24,839
write the best music I can. I am a compulsive

116
00:05:24,959 --> 00:05:27,959
practicer and have been since I was a teenager.

117
00:05:28,000 --> 00:05:29,759
Speaker 2: And I don't know if.

118
00:05:29,600 --> 00:05:32,600
Speaker 3: I'm particularly talented, but I have worked very hard to

119
00:05:32,680 --> 00:05:36,160
become good and I have gained some skills that audiences

120
00:05:36,199 --> 00:05:40,000
seem to react to. But yeah, there's no there was

121
00:05:40,000 --> 00:05:42,600
no moment where I embarked on anything. I think I

122
00:05:42,680 --> 00:05:44,480
sort of embarked on trying to get from the beginning

123
00:05:44,519 --> 00:05:46,240
to the end of my day every single day for

124
00:05:46,319 --> 00:05:48,360
the last twenty five years, and I've turned out to

125
00:05:48,360 --> 00:05:50,560
be writing music most of those days.

126
00:05:51,000 --> 00:05:54,319
Speaker 1: Please do not move. There's more with Lucas Cantor Santiago

127
00:05:54,439 --> 00:05:58,000
coming up next. Thank you so much for coming back

128
00:05:58,040 --> 00:06:01,279
to our conversation with Lucas Cantor Satiago. The name of

129
00:06:01,319 --> 00:06:04,480
his book Unfinished. So now just between the two of

130
00:06:04,560 --> 00:06:06,279
us here, what was it like for you to make

131
00:06:06,360 --> 00:06:08,600
that jump, because, I mean, the president wants to create

132
00:06:08,639 --> 00:06:11,360
an ai zar right away. When I was reading and

133
00:06:11,399 --> 00:06:14,439
studying your book Unfinished, I'm thinking, what happens if that

134
00:06:14,560 --> 00:06:17,639
Czar looks at Lucas and says, ah nah, change of

135
00:06:17,680 --> 00:06:19,920
the plans. Does Lucas then go underground?

136
00:06:22,600 --> 00:06:24,879
Speaker 2: I'm not sure how to answer that question. What was

137
00:06:25,040 --> 00:06:26,680
what would the czar be telling me?

138
00:06:26,879 --> 00:06:28,759
Speaker 1: Well, basically, I mean, if they're trying to get if

139
00:06:28,800 --> 00:06:31,360
they're trying to get control of AI technology, and now

140
00:06:31,399 --> 00:06:33,959
there's an AI zar, what does that mean to great

141
00:06:34,079 --> 00:06:36,199
artists like you that are that are in that mode

142
00:06:36,279 --> 00:06:39,319
of not only recycling but bringing things forward in the

143
00:06:39,360 --> 00:06:45,879
way of discovering new things about old things, such as Schubert. I,

144
00:06:46,439 --> 00:06:48,639
you know, I don't know if it's I mean, if

145
00:06:48,639 --> 00:06:49,879
that's not something I'm worried about.

146
00:06:49,920 --> 00:06:51,959
Speaker 3: I don't know if the company is going to restrict

147
00:06:52,000 --> 00:06:55,279
as artistic artificial intelligence. I'll cross that bridge when I

148
00:06:55,279 --> 00:06:59,160
come to it. Luckily, without AI, I'm a perfectly functional

149
00:06:59,160 --> 00:07:00,920
composer of that is. My My day job is to

150
00:07:01,240 --> 00:07:04,360
write music for film and television and concerts, and you

151
00:07:04,439 --> 00:07:07,480
really can't use AI in a professional context when you're

152
00:07:07,600 --> 00:07:09,199
selling music on for broadcasts.

153
00:07:09,199 --> 00:07:12,519
Speaker 2: So I'm not worried about that at all.

154
00:07:13,240 --> 00:07:15,879
Speaker 3: And I think that there's you know, I think that

155
00:07:15,920 --> 00:07:22,920
there's little danger of artificial intelligence supplanting musicality and musical

156
00:07:22,959 --> 00:07:26,399
expression among humans because it's something we've been doing for

157
00:07:26,399 --> 00:07:29,000
at least sixty thousand years, and a new piece of

158
00:07:29,000 --> 00:07:30,879
technology is not going to estop us from doing that,

159
00:07:31,920 --> 00:07:34,240
or arts say, it's very unlikely estopplished from doing that,

160
00:07:34,600 --> 00:07:39,360
and artificial intelligence, you know, music made by AI doesn't

161
00:07:39,720 --> 00:07:42,279
doesn't give us the same thing that music made by

162
00:07:42,319 --> 00:07:44,959
humans is, and that thing is connection.

163
00:07:44,759 --> 00:07:45,519
Speaker 2: To other persons.

164
00:07:46,160 --> 00:07:48,279
Speaker 1: See, I love where your heart is because to me

165
00:07:48,439 --> 00:07:50,759
right just what you just shared with me, I'm going, oh,

166
00:07:50,800 --> 00:07:54,120
my god, Lucas, is Bob Dylan making that switch over

167
00:07:54,199 --> 00:07:56,759
that to that electric guitar. He knew he had to

168
00:07:56,800 --> 00:07:59,040
make that move. You knew you had to make this

169
00:07:59,120 --> 00:08:02,439
move because in reality, when you study this book unfinished,

170
00:08:02,439 --> 00:08:04,240
and then you go and you listen to the finished product,

171
00:08:04,319 --> 00:08:06,399
or you listen to Franz Schubert, all of a sudden,

172
00:08:06,439 --> 00:08:09,279
you're going, my god, if Lucas would not have taken

173
00:08:09,360 --> 00:08:11,839
this chance, where would I be as a listener of

174
00:08:11,959 --> 00:08:14,360
music or just a fan of creativity?

175
00:08:16,800 --> 00:08:17,160
Speaker 2: Thank you?

176
00:08:17,199 --> 00:08:20,639
Speaker 3: And I'm flattered by the comparison. I think that you know,

177
00:08:20,920 --> 00:08:24,279
I'm I'm in a long line of composers who embrace

178
00:08:24,439 --> 00:08:27,120
their current technology to make and use it that they

179
00:08:27,160 --> 00:08:29,560
want to make. And you know, Quincy Jones would be

180
00:08:29,600 --> 00:08:32,480
in that camp, John Phillips, Susan was in that camp,

181
00:08:32,600 --> 00:08:35,960
Bondner was in that camp. Supert himself was in that camp.

182
00:08:36,000 --> 00:08:39,039
And you know, we if I had to sum up

183
00:08:39,039 --> 00:08:41,240
the history of music in one sentence, it would be

184
00:08:41,279 --> 00:08:44,200
the search for new sounds. Anything that makes a new

185
00:08:44,240 --> 00:08:46,200
sounds we want to play with. We want to see

186
00:08:46,200 --> 00:08:47,519
what we can do with them. We want to see

187
00:08:47,639 --> 00:08:50,240
how we can use those sounds to express something to

188
00:08:50,279 --> 00:08:50,799
our audience.

189
00:08:50,840 --> 00:08:53,080
Speaker 1: All right, when you talk like that, Lucas, right away,

190
00:08:53,159 --> 00:08:55,480
I'm thinking, Okay, you and I are both trying to

191
00:08:55,480 --> 00:08:57,639
figure out where the new sounds are, and we hear

192
00:08:57,679 --> 00:09:00,360
things that other people don't. But what about the reality

193
00:09:00,399 --> 00:09:02,600
of a moment of a conversation where people say, you're

194
00:09:02,639 --> 00:09:04,399
never listening to me. Well, no, it's not that I'm

195
00:09:04,440 --> 00:09:06,799
not listening to you. I'm discovering a new sound and

196
00:09:06,840 --> 00:09:09,759
I'm hearing something in my head and heart.

197
00:09:11,919 --> 00:09:16,519
Speaker 3: That's what I absolve you of daydreaming about amazing music

198
00:09:17,000 --> 00:09:18,759
before you may do that.

199
00:09:19,000 --> 00:09:21,159
Speaker 2: I encourage it. I heard all your listeners do it too.

200
00:09:21,679 --> 00:09:25,120
Speaker 1: Has the role of the artists changed because of technology?

201
00:09:25,240 --> 00:09:27,799
I think that people are becoming wiser and they're not

202
00:09:27,960 --> 00:09:31,120
so you know, you know, adamant to step forward saying

203
00:09:31,200 --> 00:09:33,360
I'm going to borrow that guitar riff and I'm not

204
00:09:33,399 --> 00:09:35,039
going to let anybody know where I got it from.

205
00:09:35,080 --> 00:09:37,360
I think people are pretty proud of a guitar riff

206
00:09:37,440 --> 00:09:39,639
or just like you said, a symphony here to where

207
00:09:39,720 --> 00:09:41,799
you can bring it forward, saying I was part of

208
00:09:41,840 --> 00:09:44,240
this process. They didn't know it's, you know, all those

209
00:09:44,320 --> 00:09:45,759
years ago, but they know it now.

210
00:09:48,240 --> 00:09:51,279
Speaker 3: I think the role of the artists changed in the

211
00:09:51,679 --> 00:09:56,639
thirteen hundreds when they started writing music down Oh my god,

212
00:09:56,320 --> 00:09:59,440
and I and I think it's I think it's starting

213
00:09:59,480 --> 00:10:01,799
to change back to what it was before.

214
00:10:02,440 --> 00:10:02,639
Speaker 2: Then.

215
00:10:02,960 --> 00:10:05,360
Speaker 3: Music has always been something that was collaborative, that was

216
00:10:05,399 --> 00:10:09,159
made by the tribe, not necessarily made by an individual person.

217
00:10:09,600 --> 00:10:13,240
And you know, of course, I, you know, appreciate attribution

218
00:10:13,360 --> 00:10:15,559
of my work, and but it's a convention when I

219
00:10:15,600 --> 00:10:17,840
when I write a piece of music, the fact that

220
00:10:17,879 --> 00:10:20,399
someone says that I wrote it is a convention. That

221
00:10:20,480 --> 00:10:24,720
the unfinished Symphony took sixty four people to perform, and

222
00:10:25,080 --> 00:10:27,399
you know, about twice as many as that to produce.

223
00:10:28,480 --> 00:10:30,480
I My name is on the top of the score,

224
00:10:30,480 --> 00:10:33,799
next to Schubert's, but you know that's just because.

225
00:10:33,559 --> 00:10:35,480
Speaker 2: I did one of those many jobs, all.

226
00:10:35,360 --> 00:10:37,120
Speaker 3: Of which were essential to getting that music into the

227
00:10:37,120 --> 00:10:39,279
eight years of listeners. So I think that the role

228
00:10:39,320 --> 00:10:42,519
of the artist has is evolving for the better and

229
00:10:42,679 --> 00:10:47,879
is tending towards the more the more natural state, which

230
00:10:47,919 --> 00:10:50,960
is using all of the sounds that the tribe, and

231
00:10:51,039 --> 00:10:52,639
by the tribe that I mean all of humanity, because

232
00:10:52,639 --> 00:10:54,679
we're all connected today, using all of the sounds we

233
00:10:54,720 --> 00:10:56,200
can make to tell the stories that we want to

234
00:10:56,200 --> 00:10:58,159
see that we want to tell, the stories that our

235
00:10:58,200 --> 00:10:59,320
listeners wanted to hear see.

236
00:10:59,320 --> 00:11:01,480
Speaker 1: This is one of those moments in music history that

237
00:11:01,559 --> 00:11:04,440
I would plant your book in every single music department

238
00:11:04,480 --> 00:11:07,320
across the country, in middle schools as well as high schools,

239
00:11:07,399 --> 00:11:10,039
because you know inside your heart, Lucas, that there are

240
00:11:10,080 --> 00:11:12,399
people out there that have got their computer skills down

241
00:11:12,559 --> 00:11:14,600
and they've also you know, they're they're tapping into their

242
00:11:14,679 --> 00:11:17,120
music life. And those two can get married and they

243
00:11:17,200 --> 00:11:19,600
can do exactly what you're doing with this symphony.

244
00:11:21,519 --> 00:11:24,799
Speaker 3: From your mouth to the procurement departments of every college's years.

245
00:11:25,240 --> 00:11:27,799
Speaker 1: Wow, where can people go to to listen to the

246
00:11:27,799 --> 00:11:30,320
symphony itself that you've helped bring back to life? And

247
00:11:30,399 --> 00:11:32,840
number two, the book, We've got to get that book

248
00:11:32,879 --> 00:11:33,879
into people's hands.

249
00:11:35,639 --> 00:11:39,000
Speaker 2: Well, thank you. So the book is actually is. You

250
00:11:39,080 --> 00:11:40,759
can order it on Amazon.

251
00:11:41,120 --> 00:11:43,720
Speaker 3: They it has been more successful than we had an anticipated,

252
00:11:44,000 --> 00:11:45,759
and they have had to make a newe order, so

253
00:11:45,840 --> 00:11:47,159
you might not get it for a few days, but

254
00:11:47,159 --> 00:11:49,039
you can get it on Amazon. You can get it

255
00:11:49,080 --> 00:11:51,440
at your local bookstores. You know, it's available wherever books

256
00:11:51,440 --> 00:11:54,039
are sold. You can get it from Bloomsbery's website. The

257
00:11:54,080 --> 00:11:57,759
symphony is there's a full recording of it on YouTube.

258
00:11:57,799 --> 00:12:00,360
I have yet to release the full fully mastered version,

259
00:12:01,200 --> 00:12:05,080
but I will someday probably release that. But you can

260
00:12:05,159 --> 00:12:08,399
if you google Lucas Kntsoftiago and Finished Sympathy, you will

261
00:12:08,440 --> 00:12:09,919
find it and you can listen to it, and then

262
00:12:09,960 --> 00:12:12,039
you can go to my website and or go to

263
00:12:12,120 --> 00:12:13,600
my Instagram and tell me what you think about it.

264
00:12:13,720 --> 00:12:15,279
Speaker 1: I'll tell you what I chuckled when you said that

265
00:12:15,360 --> 00:12:18,240
it's doing better than you projected. Of course it is.

266
00:12:18,440 --> 00:12:20,639
Of course it is because you're doing something that the

267
00:12:20,679 --> 00:12:22,600
rest of us wish we could do, and you're the

268
00:12:22,639 --> 00:12:24,919
first one to step through to invite other people back.

269
00:12:25,080 --> 00:12:27,600
It's almost like now you're turning around saying, grab my hand,

270
00:12:27,919 --> 00:12:36,480
grab my hand, I got away, let's go, let's move only.

271
00:12:33,679 --> 00:12:35,679
Speaker 2: Is my favorite interviewer of the day. Thank you so much.

272
00:12:35,840 --> 00:12:38,360
And you know, when you do a piece of.

273
00:12:38,360 --> 00:12:40,840
Speaker 3: Work, like I said earlier, and you're sort of you know,

274
00:12:41,159 --> 00:12:42,759
it's up to the audience what it is. And so

275
00:12:42,879 --> 00:12:44,080
I've been working on this book.

276
00:12:43,919 --> 00:12:47,320
Speaker 2: For so long that I really had no idea how

277
00:12:47,399 --> 00:12:48,279
it was going to be received.

278
00:12:48,320 --> 00:12:50,360
Speaker 3: I just thought, well, this is you know, as one

279
00:12:50,360 --> 00:12:51,960
of the things I'd write about is that mass three

280
00:12:52,080 --> 00:12:54,399
is the ability to make something the way that you

281
00:12:54,480 --> 00:12:54,759
want it.

282
00:12:55,080 --> 00:12:56,559
Speaker 2: And so I got this book to the point where

283
00:12:56,559 --> 00:12:58,000
I said, all right, well this is what I want

284
00:12:58,039 --> 00:13:00,320
to say, and hopefully people will enjoy it.

285
00:13:00,440 --> 00:13:03,279
Speaker 3: I you know, I don't know, but but I you know,

286
00:13:03,320 --> 00:13:04,720
I said, I said my thing. I've put it out

287
00:13:04,720 --> 00:13:07,279
in the world, and I hope that other people resonated

288
00:13:07,320 --> 00:13:09,360
with and I'm flattered. I hope that other people resonate

289
00:13:09,440 --> 00:13:11,679
with it. And I'm flattered that you see in jazz.

290
00:13:11,720 --> 00:13:12,480
Speaker 2: So thank you very much.

291
00:13:12,679 --> 00:13:14,039
Speaker 1: Oh my god, You've got to come back to this

292
00:13:14,120 --> 00:13:16,679
show any time in the future. And if you team

293
00:13:16,759 --> 00:13:19,039
up with our Charlotte Symphony, you got to come to

294
00:13:19,120 --> 00:13:20,879
town and let's get together and have a face to

295
00:13:20,960 --> 00:13:23,919
face because you're onto something here that is really magnetic.

296
00:13:25,799 --> 00:13:26,080
Speaker 2: Thank you.

297
00:13:26,159 --> 00:13:27,840
Speaker 3: I'd love to And you know, the Charlotte I know

298
00:13:28,360 --> 00:13:30,639
some people play in the Charlotte symptons actually that live

299
00:13:30,720 --> 00:13:32,840
in Los Angeles and has a reputation of.

300
00:13:32,960 --> 00:13:35,480
Speaker 2: Being one of the onely great symphonies. So I'm one

301
00:13:35,559 --> 00:13:37,399
with great orchestras. I would be happy to work with them.

302
00:13:37,559 --> 00:13:39,679
Speaker 1: Flattered by the by the author, Wow, will you be

303
00:13:39,879 --> 00:13:40,480
brilliant today?

304
00:13:40,519 --> 00:13:44,279
Speaker 2: Okay, mister Lucas, thanks so much, Eric, it was great

305
00:13:44,320 --> 00:13:44,679
talking to you.