Speaker 1: You're listening to something. Creator and hosts Canvalent, editor and
Speaker 1: producer Peter.
Speaker 2: Hey, everybody, this is Something rather than Nothing podcast And
Speaker 2: I have Victor V. Gerbo here, uh from New York
Speaker 2: musician Victor. I've I've I've listened and watched a bunch
Speaker 2: of music, really love it, really enjoy it. Excited to
Speaker 2: talk to you and you know, to talk about art
Speaker 2: and the music you create. But first of all, welcome
Speaker 2: to the Welcome to the podcast.
Speaker 3: Thank you so much for having me. It's a pleasure
Speaker 3: to be here. That is awesome.
Speaker 2: What one of the one of the first questions I
Speaker 2: ask is uh, and I know you've been doing music,
Speaker 2: are and creating uh for for quite some time?
Speaker 3: Uh Uh?
Speaker 2: Was there a moment? Was there a moment when you
Speaker 2: were going along and you felt that you were an artist?
Speaker 2: You knew that you were an artist? Was it an
Speaker 2: event or a moment?
Speaker 3: I'm very fortunate to have been raised in an environment
Speaker 3: where art is really accepted. My my father is a photographer,
Speaker 3: and he ended up working for a fairly famous photographer
Speaker 3: named Andrea Cartez and has ended up his his his
Speaker 3: his day job, which is now slowly becoming my day
Speaker 3: job as well, has been sort of managing his archive.
Speaker 3: So I've grown up around art. My father has brought
Speaker 3: his work home his entire life, so I've gotten to
Speaker 3: be raised around really incredible pieces of art. And on
Speaker 3: my mom's side, they were all traveling. My middle name
Speaker 3: is Vocally and that's my mom's last name, and they
Speaker 3: were all traveling opera singers and violin players. And uh so,
Speaker 3: certainly on on on both sides, art is your thing.
Speaker 3: So I I was never discouraged. I've had this conversation
Speaker 3: with other artists and they've you know, I have said,
Speaker 3: you know, like, oh, you know, I told my parents
Speaker 3: I wanted to be a guitar player, a painter, writer.
Speaker 3: It was received poorly, and I'm I'm I've I've we
Speaker 3: all I got, you know, lots of faulty wiring, but
Speaker 3: so have you know. It's but that, But that being said,
Speaker 3: have never that that that has not been my That
Speaker 3: has never been my problem. And I'm very fortunate that
Speaker 3: I've always been encouraged to be an artist. I I
Speaker 3: I never expected to be a musician.
Speaker 4: Uh.
Speaker 3: When I was younger, I mostly painted, I drew, I wrote,
Speaker 3: and at some point towards the end of my tenure
Speaker 3: in college, I started writing songs and something just eventually clicked,
Speaker 3: and I realized that playing music was going to be
Speaker 3: my main thing and it has been ever since.
Speaker 2: Love it, Love it incredible too. The dad you said, cretez, Oh,
Speaker 2: my goods, I mean I I incredible. Photographer.
Speaker 3: Oh yeah, no, I'm really glad that you. You know
Speaker 3: is photography is never a It's not really a household
Speaker 3: name for artists. So whenever I meet someone that actually
Speaker 3: knows who he is, I'm always very impressed and very happy.
Speaker 3: My father knew him. This is I'm now telling his story,
Speaker 3: and I hope when he hears this he doesn't feel
Speaker 3: he doesn't feel too bad. He says that at the
Speaker 3: age of fifteen, his brother gave him a camera and
Speaker 3: a copy on Reading, and my dad said that he
Speaker 3: switched from Mad magazine to photo books and flashed forward.
Speaker 3: He was in something called the set Of Project, which
Speaker 3: was an arts rehabilitation program in the guess it's probably
Speaker 3: the late seventies, and he's being interviewed for a project
Speaker 3: and after the interview, the woman says, all right, what
Speaker 3: gives your photos? Like Eastern European? But here in the
Speaker 3: Brooklyn accent, and he just went on and on about
Speaker 3: how much he loved Cortez, and she said, this is adorable.
Speaker 3: I know him. I have to bring you to him,
Speaker 3: and they began working together. My dad was a carpenter.
Speaker 3: He built, He built shelves and furniture for him and
Speaker 3: developed film for him. Was a bodyguard in the city,
Speaker 3: walking around taking pictures, and when Cortez passed away, the
Speaker 3: people that were in charge asked him if they were
Speaker 3: for a so he helped take apart his apartment. And
Speaker 3: then after that they said, would you like to be
Speaker 3: the curator of his estate? And my father said, I'll
Speaker 3: do it for a year so it doesn't interfere with
Speaker 3: my own art. And about forty something years later, here
Speaker 3: we are, and all my childhood he's been bringing the
Speaker 3: work home because I was born slightly after he took
Speaker 3: on that job, and my parents didn't want to have babysitters,
Speaker 3: so they both worked part time when I was very young,
Speaker 3: and he's told the story. I have no memory of this,
Speaker 3: but it does go into art, so I think it's
Speaker 3: a relevant story. My father is laying out a show.
Speaker 3: I forget where the exhibition was supposed to go. But
Speaker 3: he realized that the dimensions of our living room was
Speaker 3: the same as the gallery space. So he brought the
Speaker 3: photographs home and he laid them out. Apparently, I'm like five,
Speaker 3: and I toddled in. I say, what are you doing?
Speaker 3: And he says, I'm laying out this show. And apparently
Speaker 3: I walked around the show and I turned to him
Speaker 3: and I don't remember this, but I believe it. And
Speaker 3: I said to him, you've got it all wrong. He said,
Speaker 3: excuse me, And I said, well, this photograph talks to
Speaker 3: this photograph and this piece looks like this, and I
Speaker 3: apparently I moved five pictures around and he said, all right,
Speaker 3: and that's how he hung the show. So, and my
Speaker 3: argument for that is good art, great art, amazing art
Speaker 3: is so intuitive that even a five year old can
Speaker 3: understand it. Having the context and the history and the
Speaker 3: life experience. Certainly, you know will will embellish your understanding
Speaker 3: of it. But and this is a quote from my father,
Speaker 3: it's not mine, but the job of an artist is
Speaker 3: to be a sponge and a mirror. It's to observe
Speaker 3: the world around you, to synthesize it through the self,
Speaker 3: and then create it in a way that other people
Speaker 3: can walk around inside of it. And I think, you know,
Speaker 3: a great, a great Critez photograph. I wasn't born and
Speaker 3: you know, in in in Hungary in the eighteen hundreds.
Speaker 3: I didn't serve in World War One. But when I
Speaker 3: look at when I look at some of those pictures,
Speaker 3: you can you can just you can find yourself in them.
Speaker 3: And and it's the same thing for a good song.
Speaker 3: I mean, I love Bob Dylan, and I haven't lived
Speaker 3: Dylan's life, but some of those songs they just rip
Speaker 3: right through your soul. So so yeah, that's sort of
Speaker 3: my my take. I know that one of the one
Speaker 3: of the questions you asked is what is the role
Speaker 3: of an artist? And that's that that that, yeah, immediately
Speaker 3: came to mind.
Speaker 2: Yeah, thank you, thank you for the telling a spot.
Speaker 2: I mean, I just found it just the point where
Speaker 2: you said that there was it really just struck me,
Speaker 2: like that intuitive piece where you said, you know, there's
Speaker 2: a lot of fuzz as we get older, but you
Speaker 2: just you know, it's the eye you see, it's like wait,
Speaker 2: a second soul auto order, and uh, you're walking around
Speaker 2: and it's just a beautiful story walking around and the calory.
Speaker 3: Yeah, yeah, no, no, it was now and and I'm
Speaker 3: I'm very lucky that that that that now I get
Speaker 3: to look at the pictures. You know. Again, he my
Speaker 3: father often says, you know, he's accidentally become a Cotez
Speaker 3: expert night, and I too have accidentally become one as well,
Speaker 3: looking at my whole life, and now I'm doing work
Speaker 3: for the In addition, my day job is now that
Speaker 3: and by night I play music and build guitars. And
Speaker 3: that's that's become my that's become my my saga at
Speaker 3: the moment. But I wouldn't have it any other way.
Speaker 3: If one must, if an artist must have a day job,
Speaker 3: which we all need, because art doesn't make enough for
Speaker 3: any of us to survive. Unless you crack that amazing
Speaker 3: threshold looking at great art, he gets more art. And
Speaker 3: it doesn't matter if it's a photograph and you play music,
Speaker 3: or you're looking at a painting and you're you know,
Speaker 3: and you take photos it it. There's a great series
Speaker 3: which I hope someone was discussing doing a book on
Speaker 3: it at some point. But Kretez in the twenties was
Speaker 3: hanging out with a lot of his He had a
Speaker 3: his roommate. I think he also lived across the hole
Speaker 3: at some point. His name was Laos Tiani. He was
Speaker 3: a mute Hungarian painter and etcher and printmaker. And they
Speaker 3: have this great series back and forth where Chretez would
Speaker 3: take a photograph and then he would make a painting,
Speaker 3: and then he would make a painting and you take
Speaker 3: a photograph, and it didn't matter that they were doing
Speaker 3: different forms of art. But you can see this. It's
Speaker 3: not when I when I when I say it's competitive.
Speaker 3: It's not competitive in a bad way. It doesn't have
Speaker 3: to be a negative. But good art begets more art,
Speaker 3: and art's a conversation. It doesn't happen alone. If it's
Speaker 3: your experience that you're synthesizing as someone else's art, you
Speaker 3: can you can write a song in response to the geometry.
Speaker 3: You have a photograph, you can find how that functions
Speaker 3: in a different form. And that's something that would never
Speaker 3: happen if you were only listening to music, or if
Speaker 3: you were only doing blank. In this, I don't think
Speaker 3: art is it's it's it's it's broad stroke. It doesn't
Speaker 3: have to be rete I mean, I have one story
Speaker 3: that I when I was in college. I took a
Speaker 3: it was a computer design class, and one of the
Speaker 3: assignments was to make a flyer, a business card, and
Speaker 3: a brochure or something. And I made a business card
Speaker 3: for my music I was writing at the time. I
Speaker 3: did one of those, and then the other one I
Speaker 3: did for I think was painting or something, and the
Speaker 3: professor looked at it and kind of laughed and said
Speaker 3: to me, you know, you're gonna have to pick one eventually.
Speaker 3: And at the time I found that so offensive. I
Speaker 3: was like, what do you mean I have to pick one? Yeah,
Speaker 3: And then then as time is gone, I was like, oh, yeah,
Speaker 3: that guy was right. I wish I could find the
Speaker 3: card and say, yeah, yeah, you where you were right
Speaker 3: on the money.
Speaker 5: But that being said, well, one.
Speaker 3: Thing always, you know, sort of does emerge as your
Speaker 3: main creative outlet. Having connections to everything that you can
Speaker 3: have connections to certainly helps your art improve. Yeah.
Speaker 2: I really appreciated your point of like the interacting, interacting
Speaker 2: with art and be getting more art. I wanted to
Speaker 2: ask it. It's somewhat standard, somewhat standard question, but like
Speaker 2: it my mind, my mind goes towards it. And it
Speaker 2: was talking about like the generation of your art and
Speaker 2: time I read about musicians, you know, there's always this
Speaker 2: kind of like categorization, right, like the way we talk
Speaker 2: about it. Music can be so expansive and we use
Speaker 2: you know, terms to try to like try to place it,
Speaker 2: and and listening to music in your band you feel
Speaker 2: a lot of different influences and to see other people
Speaker 2: you know, describing it folk like you know, spanding a
Speaker 2: long range of time. M hm is their way? Is
Speaker 2: there way you would put it as far as those
Speaker 2: influence you mentioned Bob Dylan, but like the the stuff
Speaker 2: that really like rattled you and you could feel like
Speaker 2: their life and kind of like in your development in
Speaker 2: your music.
Speaker 3: Well, I yeah, I mean I I love using the
Speaker 3: umbrella of folk rock Americana or folks singer songwriter because
Speaker 3: you can get away with so much. Yeah yeah, right
Speaker 3: right right, yeah yeah, I I you know, I don't
Speaker 3: like I put this genre specific to perhaps perhaps to
Speaker 3: my own detriment, because you know, certainly it's so easy
Speaker 3: to walk in and say, you know, I'm an indie
Speaker 3: artist or I'm this or I'm that. And the folk
Speaker 3: rock Americana you can do it, blues, you can do
Speaker 3: a country song you can you can lean on all
Speaker 3: of those, you know, sort of American roots, and I,
Speaker 3: you know, I love the diversity of that. And I
Speaker 3: in addition to Bob Dylan, I mean, I love the
Speaker 3: you know, Alan Lomax, Smithsonian collection, stuff like that. I
Speaker 3: I you know, certainly with some of that material, there
Speaker 3: is an anchor into the time that they were created,
Speaker 3: whether it is the quality of the recording. And of
Speaker 3: course an artist can never really get away from the
Speaker 3: time period that they are in. But I love creating
Speaker 3: art that isn't really stuck in a time. I was
Speaker 3: talking to someone not too long ago. I can't I
Speaker 3: can't remember what the context was, but I was saying
Speaker 3: that there's a lot of like a lot of modern
Speaker 3: pop music that makes me really sad like when I
Speaker 3: hear it, because it is so anchored in like we are,
Speaker 3: we are young, we're going to set the world on fire,
Speaker 3: which you know, I'm still theoretic theoretically young for another
Speaker 3: five and a half minutes now now for but that,
Speaker 3: you know, but that, but that I've always been so
Speaker 3: conscious that like that that goes away like that's that's
Speaker 3: it's such a fleeting part of your life and I
Speaker 3: don't know though, those just some of those songs just
Speaker 3: just they make me want to cry, and I don't
Speaker 3: quite know why I don't even like them that much.
Speaker 3: But when, but like when, when you listen to a
Speaker 3: Frank Sinatra song, like the ones that just sort of
Speaker 3: have entered into that like immortal category, it doesn't matter
Speaker 3: when he was singing them or why he was singing them.
Speaker 3: You can play them in any time period and they
Speaker 3: they work for you. And that's always what I've sort
Speaker 3: of tried to tried to aim for, is to not
Speaker 3: get too bogged down in and where I am and
Speaker 3: just make something that I would hope that in the
Speaker 3: event that it that it lasts, that someone you know,
Speaker 3: one hundred years from now, could in theory listen and
Speaker 3: find their way find their way through it. Well, of course,
Speaker 3: you know, I think I was listening to what was
Speaker 3: it Why I try to change me now? And I
Speaker 3: know that like even you know, there's the line I
Speaker 3: leave my keys in the door, and I'm like, well,
Speaker 3: you know, keys are starting to go away a little bit.
Speaker 3: You know, you have car keys, you.
Speaker 6: Like it.
Speaker 3: It's really like there's things that you wouldn't even realize
Speaker 3: will become become antiquated. The one one one thing that
Speaker 3: really freaks me out, which will do a best to
Speaker 3: describe because I realized the video is not saved, is
Speaker 3: if you ask a child to pantomime taking a picture,
Speaker 3: and many of them will raise their hand like it's
Speaker 3: a phone, whereas mine is always going to be as
Speaker 3: if you're holding a physical camera the same. Yeah, a phone,
Speaker 3: you put your hand up. I always do the two fingers.
Speaker 3: And then there's they you know, they do like it's
Speaker 3: a cell phone. That's just part of this part of
Speaker 3: the part of the journey, you.
Speaker 2: Know, yeah, I no, go ahead, no, no, that was
Speaker 2: I think the end of the the.
Speaker 3: The weird rambling thread that I just had. No.
Speaker 2: You know, one of the things when you're talking about
Speaker 2: you know, I don't want to use these words that
Speaker 2: used a lot, but like through time or timeless. I'm
Speaker 2: a union activist, union organizer and folk music and those
Speaker 2: embedded songs, uh, you know, like they have it right.
Speaker 2: So like I'm a worker in like you know, nineteen
Speaker 2: twenty seven.
Speaker 3: Guess what, the boss got.
Speaker 2: Their boot on my neck, and you know, like you know,
Speaker 2: there's there's these there's these conditions and there's this kind
Speaker 2: of like sound.
Speaker 3: I think, yeah, there is a you know, a primal,
Speaker 3: a primal sound that comes from those the experiences, and
Speaker 3: recently just with the world in the place that it's
Speaker 3: in in politics, that the place that it's in, I've
Speaker 3: been starting to look at I've sort of stayed away
Speaker 3: from protest music. I love it, and I love playing
Speaker 3: it for myself, and I love listening to it. But again,
Speaker 3: like I've always personally strove to, you know, for my
Speaker 3: own writing and for the stuff and the songs that
Speaker 3: I cover to be again like not anchored in a
Speaker 3: specific time, and a lot of protest music is anchored
Speaker 3: in a specific moment. But as I've sort of begun
Speaker 3: sort of studying it more critically lately in an attempt
Speaker 3: to sort of synthesize it and figure out how I
Speaker 3: can participate, I've been amazed at how even when stories
Speaker 3: are specific to a time period, how they can still
Speaker 3: resonate and be so relevant today. With Marcus Serta, who
Speaker 3: I collaborate with him for my home recordings, I sort
Speaker 3: of I have multiple projects that I work on, one
Speaker 3: as my full band, which Mark is also a part of.
Speaker 3: He plays bass in that project, But when I'm by myself,
Speaker 3: Mark has been a multi instrumentalist, predominantly guitar, and he
Speaker 3: mixed and masters the home recordings that we do. And
Speaker 3: recently we've sort of done a foray into protest music,
Speaker 3: and I've experimented with writing, and we've been opening up
Speaker 3: our sets with a Woody Guthrie toon called Deport, which
Speaker 3: is the plane wreck of Los Gatos, and it's a
Speaker 3: song that Guthrie wrote about in the late nineteen forties.
Speaker 3: The state rounded up a bunch of migrant workers that
Speaker 3: they deemed illegal, and they put them on a plane
Speaker 3: and the plane crashed over the mountains, and the response
Speaker 3: on the radio was very black life uster. They didn't
Speaker 3: you know, it's just so you know, a bunch of
Speaker 3: immigrants died, and then they just went on the news
Speaker 3: and it upset him so much that he wrote this song.
Speaker 3: And I mean again, there are moments in the song
Speaker 3: that are specific to the plane wreck, but the the
Speaker 3: but the the subject matter is still so relevant today
Speaker 3: and it's both amazing from the standpoint of Guthrie as
Speaker 3: an artist, also tragic that we're still dealing with the
Speaker 3: same problems and the same missteps but that that being said, yeah,
Speaker 3: with Union music, it's it's absolutely incredible. There's so much
Speaker 3: material to go through. And again, I'm sure you encountered
Speaker 3: this every day that they that even even even if
Speaker 3: it's specific to a moment, there's still broad strokes relevance
Speaker 3: to to what you're doing. And two and to necessary
Speaker 3: activism today.
Speaker 2: Well, the singing, singing and bringing people uh together, you
Speaker 2: know there there's incredible components of you know where people like, yeah,
Speaker 2: we are together, and they don't have to see it.
Speaker 2: They don't have to see it like on the strike line,
Speaker 2: or they can they can feel it and the words
Speaker 2: of everybody around them. And I think it's such a
Speaker 2: beautiful thing. All right, I got a different I get
Speaker 2: a different question. So in New York City, I've seen
Speaker 2: some of you live videos beautiful venues for you. Tell
Speaker 2: us about like your favorite venue there that you play?
Speaker 3: What, what's it, what's it feel like?
Speaker 2: Uh?
Speaker 3: Where is it?
Speaker 2: Where is it in the city. I'd like to get
Speaker 2: a little bit of a feel of one of my
Speaker 2: favorite cities in the entire world.
Speaker 3: Well are our biggest shows that we've done, which, of
Speaker 3: course those venues come to mind, and first and foremost
Speaker 3: just as sort of like we did Carnegie Hole about
Speaker 3: two or three years ago now, and a bit longer
Speaker 3: ago we did one of the smaller stages at Brooklyn
Speaker 3: Academy of Music, and certainly just the history in those
Speaker 3: stages it was incredible to be a part of. But
Speaker 3: recently we did now two shows at Cafe Wah, which
Speaker 3: igor connected me with you in part because I cut
Speaker 3: a Gerbo twenty five live album and we and we
Speaker 3: recorded it at Cafe Wa. And I mean obviously a
Speaker 3: much smaller venue comparatively to Carnegie Hole, but I would argue,
Speaker 3: you know, as far as the history of folk and
Speaker 3: rock music in New York City, quite a heavyweight contender
Speaker 3: in terms of importance. Dylan when he first came to
Speaker 3: New York, the first place that he went to wash
Speaker 3: was was Cafe WA. I believe many of early Hendrick
Speaker 3: sets where we're there, it's the wall is lined with
Speaker 3: photographs of the pivotal artists in our culture. That we're there,
Speaker 3: and it's amazing that not only does it still exist
Speaker 3: because so many venues, especially during COVID, just went belly
Speaker 3: up the bitter end. Also incredibly important almost almost died
Speaker 3: during that period and there was a bunch of artists
Speaker 3: came together and did a zoom zoom show in addition
Speaker 3: to the owner launching a launching a GoFundMe, and it
Speaker 3: raised enough money to keep it to keep it afloat.
Speaker 3: And I just one of my one of one of
Speaker 3: my idols is George Carlin, and he opened up the
Speaker 3: previous Bitter End uh save the Bitter End show, And
Speaker 3: I'm just thrilled that in the the one following it
Speaker 3: that my name is in the list of people that
Speaker 3: yeah where I had a when I was in college
Speaker 3: at a philosophy class and the professor asked me who's
Speaker 3: your who's your favorite philosopher? And I said George Carlin
Speaker 3: and he said, all right, that makes a lot of sense.
Speaker 6: And but uh, but but the but the fact that
Speaker 6: both the Bitter End End Cafe while not just or
Speaker 6: still in existence, but they're still taking chances on acts
Speaker 6: that are that.
Speaker 3: Are new, that are unknown, that are independent. That's a
Speaker 3: great thing. I mean the fact that you know, not
Speaker 3: only myself, but you know many artists that I know
Speaker 3: that are just starting out get to say, like, you know,
Speaker 3: I got to play the same sace, the same stage
Speaker 3: as Jimmy Hendricks. I got to play the same stage
Speaker 3: as Bob Dylan. I got to play the same stage
Speaker 3: as it was a Lady Gaga and Taylor Swift some
Speaker 3: of their early shows at the Bitter End. That's great,
Speaker 3: and it sort of puts us all in the same
Speaker 3: like we're all in the same we're all on the
Speaker 3: same staircase, we're all in the same Yeah. And I
Speaker 3: just think that's great. And I think that you know
Speaker 3: a lot of people will I had dinner not too
Speaker 3: long ago with I was in I was in Chicago,
Speaker 3: and I that's someone who used to be used to
Speaker 3: live in New York City, and she said like, oh, well,
Speaker 3: New York City doesn't have any character anymore. And I'm like,
Speaker 3: first of all, like you don't live here anymore, so
Speaker 3: leave it alone. Don't take a jail New York. You
Speaker 3: can complain about it. You can't. And yes, the buildings
Speaker 3: are getting bigger to a point where the island's starting
Speaker 3: to sink into the water. But part of the like
Speaker 3: part of the magic of being a New Yorker is
Speaker 3: none of us have any idea how we pull it off,
Speaker 3: and we all kind of hate it, but we're all
Speaker 3: madly in love with the place, and we all can't
Speaker 3: imagine living anywhere else, and you know, aren't Just like
Speaker 3: you know, just like plants, just like we reads, it
Speaker 3: always grows, even though you know, the life cycle is
Speaker 3: always the rents cheap, the artists move in, it becomes cool,
Speaker 3: and then people start buying it up, and then the
Speaker 3: artists can't live there anymore. But there's you know, we're
Speaker 3: I always say this, like also I say it to myself, Like,
Speaker 3: you know, when you're on stage, you're always so worry
Speaker 3: about making a mistake or forgetting something or batching you
Speaker 3: know whatever, whatever line, whatever note. The audience wants you
Speaker 3: to succeed, and other artists want you to succeed. I
Speaker 3: always say whenever I meet somebody, like, if you figure
Speaker 3: out the secret code for you know, whatever, the next
Speaker 3: step is, whatever, the next great show, whatever, the next
Speaker 3: social media viral moment or whatever, if I if I
Speaker 3: find it out, I'll tell you, And if you find out,
Speaker 3: please tell me. Like this is we're all in this.
Speaker 3: We're all in this together, and especially with you know,
Speaker 3: the prevalence of AI becoming you know, taking over weird
Speaker 3: space is in art where it has no place AI
Speaker 3: belongs in computation. It does not belong in the arts.
Speaker 3: And I know that, you know, I know that there
Speaker 3: are exceptions to that rule in the sense that you know,
Speaker 3: when a camera was first picked up, no one knew
Speaker 3: where to put it, perhaps being and it just shouldn't be.
Speaker 3: You could be perhaps an AI prompt artist or something,
Speaker 3: but it's not. It's not where it is being used
Speaker 3: in the jobs that it is taking from artists. Right now,
Speaker 3: I would argue, is reprehensible not to mention that, you know,
Speaker 3: each time it types something in jet GPT, you're pouring
Speaker 3: out a bottle of water. But I've not lost my
Speaker 3: chin thought.
Speaker 2: No, I mean it's it's.
Speaker 3: Yeah, that's a big one, and I think something that
Speaker 3: we're all reckoning with. Oh yeah, but the culture of
Speaker 3: art in New York City. I love that whenever the
Speaker 3: advertisements on the trains, whenever there is an ad for
Speaker 3: AI or an advertisement that has been created with AI,
Speaker 3: it is vandalized the immediately and someone will write AI
Speaker 3: slop on it. There. There is Perhaps it's some kind
Speaker 3: of uncanny Valley response. Perhaps it's that we all collectively
Speaker 3: do realize that the one thing that really does make
Speaker 3: human special is our ability to create art. That the
Speaker 3: angry response that I've seen towards you know, God knows
Speaker 3: how much they're paying people for for sketchers' ads, but.
Speaker 4: Do they really need the same thing with Disney. Disney
Speaker 4: has so much money and they're using AO images and stuff.
Speaker 4: It's just you know, it's it's just so bizarre to me.
Speaker 3: But uh but yeah, no, like, And I think that's
Speaker 3: that's an example of you know, New Yorkers are oddly
Speaker 3: do look out for each other, even though it does
Speaker 3: have a sense of you know, this reputation of this
Speaker 3: you know cold city scape. There's a there's there, there's
Speaker 3: a great art scene. It's bifurcated. It's confused because you know,
Speaker 3: with especially with venues, you know, rent is expensive. Each
Speaker 3: each each stage has to worry about being able to
Speaker 3: stay open. That then trickles down to the artists. I
Speaker 3: remember talking to when I first was doing shows with
Speaker 3: my full band. I had a drummer who had gigged
Speaker 3: a lot in the seventies, and when I was telling him, like, yeah,
Speaker 3: we really got to hustle and get a lot of
Speaker 3: people out to the show, he said, like, we have
Speaker 3: to bring people to the show, like the club doesn't
Speaker 3: make a poster and put it outside. I'm like, oh no, man,
Speaker 3: mat that's over. The guitarist I work with right now
Speaker 3: was a session musician. He was a guitarist in the
Speaker 3: China Club in the eighties. And he always says when
Speaker 3: I say, like, oh, yeah, we got the good slot,
Speaker 3: it's like seven or eight o'clock. And he said, like,
Speaker 3: if you played before, like one am, it was lame.
Speaker 3: I said like, no, no, it's all very different now.
Speaker 3: It is a very different it's a very different environment.
Speaker 3: And and there's been a big shift, but I think
Speaker 3: there is still there's still a there is a reverence
Speaker 3: for art in New York City. It and it grows
Speaker 3: through the cracks of skyscrapers and and and that that's
Speaker 3: I there. There there, there's still lots of wonderful independent
Speaker 3: venues that are taking chances on indie artists. And there's
Speaker 3: never a shortage of catching a good show in a
Speaker 3: nice place. And some of the bars they're really generous
Speaker 3: to their talent, and they're really nice and and I
Speaker 3: would argue the ones that weren't. A lot of them
Speaker 3: went away with COVID because I watched left and right,
Speaker 3: you know, go fundmes and zoom shows pop up to
Speaker 3: help keep venues alive. And you know the ones that
Speaker 3: that didn't foster that community with their artists, they weren't
Speaker 3: you know, they they they they didn't show up. So
Speaker 3: so yeah, I I think there's there's still a great
Speaker 3: culture here for the for the arts. It's not it's
Speaker 3: not celebrated in the same way they're like, oh, you
Speaker 3: go to Nashville and there's a songwriter row and this
Speaker 3: and that. But it's just a bunch of crazy people
Speaker 3: who are trying to stay alive in New York City,
Speaker 3: who have to make art, and they're they're really cool
Speaker 3: to hang out with if you know where to find them,
Speaker 3: and there's great shows to go.
Speaker 2: Thanks, thanks, thanks for taking us in. Yeah. Absolutely, uh
Speaker 2: love love to New York City. Talking about AI, this
Speaker 2: one fundamental point that has shocked me about it is
Speaker 2: I was shocked as I would see a lot of
Speaker 2: people around me abdicate and give away their own thinking
Speaker 2: Like I I couldn't like like a lot of things
Speaker 2: that they were asking and generating. It was of this
Speaker 2: kind of mono robot voice. But I couldn't believe how
Speaker 2: quickly a lot of people rush to say. In my brain,
Speaker 2: I don't want to think that true anymore. Like I
Speaker 2: was shocked at that. It was like I have such
Speaker 2: a connection to that process. I'm like, I don't even
Speaker 2: want somebody else or some other thing to do it
Speaker 2: for me, because it's not me. So I don't know.
Speaker 2: I always found that that that a real shocker.
Speaker 3: And there's almost sorts of fascinating, fascinating studies coming out
Speaker 3: of like you know, people that use I mean AI
Speaker 3: is here to stay. We've clearly collectively said, you know,
Speaker 3: I mean when I say collectively, I mean the folks
Speaker 3: who have any kind of control over it collectively say
Speaker 3: we ain't putting no guardrails in. We're just this is
Speaker 3: here to stay. And this is now. One thing that
Speaker 3: really drives me nuts is it's in Gmail now and whenever,
Speaker 3: you know, whenever you misspell something, it's underlining and red.
Speaker 3: And whenever you you know, when that's you know, when
Speaker 3: the grammar's incorrect, it's underlined in blue. And now all
Speaker 3: of a sudden, it's underlined in purple. And I'm like,
Speaker 3: what is this? And I click on it. It's like
Speaker 3: your AI friend is saying like you might want to
Speaker 3: say it like this, it's more concise. Am I allowed
Speaker 3: to curse on the show.
Speaker 2: At this point? Yeah?
Speaker 3: Fuck? Like I want to sound like a human. I
Speaker 3: want to sound like how I.
Speaker 6: Sound trying to strip all of the human individuality out
Speaker 6: of speech.
Speaker 3: And I you know, my my partner, my girlfriend, she
Speaker 3: teaches at F I T. And she's always talking about
Speaker 3: this huge problem with people using AI, and like I
Speaker 3: do understand, I am dyslexic and having the ability to
Speaker 3: most people with dyslexia are a large swath of people
Speaker 3: with dyslexia. They're affected in math. Sorry, they are affected
Speaker 3: in English and not in math. And of course I'm
Speaker 3: flipp even even for that. But on occasion, I've always like,
Speaker 3: you know, there's a couple of grammar quirks that even
Speaker 3: through my genesis of making trying of figure out how
Speaker 3: to connect the wires in my brain, but still I
Speaker 3: botch every now and then, So I like, you know,
Speaker 3: it's been it's been really nice to be able to have,
Speaker 3: you know, like a system that one can use to
Speaker 3: like catch little little things here and there, but you
Speaker 3: really have to figure out how to use it as
Speaker 3: a tool and not let it completely. I was forget
Speaker 3: the name of the person I was listening to. It was.
Speaker 3: It was on YouTube somewhere, and I was talking about
Speaker 3: the dangers of AI and how it could really take
Speaker 3: over the world. And two of them were, you know,
Speaker 3: sort of you know, black mirror esque, you know, this happens,
Speaker 3: and this happens, and he said. The third one, he said,
Speaker 3: which is much more realistic and genuinely, the one that's
Speaker 3: more frightening is that it becomes so pervasive in our
Speaker 3: culture that we do not feel comfortable sending an email,
Speaker 3: working out directions, paying a bill, basic communication without consulting
Speaker 3: the AI first. And I I can see that, I
Speaker 3: can see that happening. It's it's very it's very easy
Speaker 3: to to to to lean on the crutch of it.
Speaker 3: And there was there was a study I was reading
Speaker 3: that like basically, like look studying studying the brain of
Speaker 3: people that either a use the AI as a tool
Speaker 3: after the thing is made, versus the people that use
Speaker 3: the AI and then modify it afterwards. They're like, you're
Speaker 3: using so much less stuff up here, and how that
Speaker 3: is dangerous And yeah, the amount that it synthesizes other
Speaker 3: people's art and then regurgitates it as as its own
Speaker 3: is horrifying. I love there's something called poisoning the well,
Speaker 3: which there's some sort of software that I haven't investigated
Speaker 3: enough because I haven't I haven't needed to. But you
Speaker 3: can apparently put this over your art and it it
Speaker 3: does something in the pixels just enough that the AI
Speaker 3: doesn't know how to copy it. So if you said,
Speaker 3: you know, copy of painting in the style of X
Speaker 3: y Z, person who's using this, it will come out
Speaker 3: just as like mush, which is is smart. I do
Speaker 3: think that there is you know, I've spoken to artists.
Speaker 3: It's usually older artists who are very hesitant to put
Speaker 3: their artwork out on the Internet because they don't want
Speaker 3: someone to steal it, which I one of a key
Speaker 3: a key moment in my development was I was when
Speaker 3: I was in college. I took it was a class
Speaker 3: it was Art in the Real World, and it was
Speaker 3: just basically a seminar class where you would sort of
Speaker 3: discuss how to be how to be a physical artist
Speaker 3: in a real world setting. And I asked the question,
Speaker 3: what do you do if someone steals your art? And
Speaker 3: the professor says, oh, I would love someone to steal
Speaker 3: my art, and I first I thought it was a
Speaker 3: joke and that I realized he was dead serious. And
Speaker 3: the older I get, the more I'm like, yeah, well,
Speaker 3: you know, you, first of all, nothing will happen if
Speaker 3: you don't put yourself out there, and if someone does
Speaker 3: try to steal your work, at least it means that
Speaker 3: you're relevant enough that someone actually cares enough to try
Speaker 3: to steal it. But yeah, it's that, it's that whole
Speaker 3: adage of you can never you know, nothing's ever going
Speaker 3: to happen if you don't put yourself out there. And
Speaker 3: part of being an artist is there's so many there's
Speaker 3: so many reasons that you can tell yourself not to
Speaker 3: put yourself out there. And that's not to say that
Speaker 3: one shouldn't copyright their material, register with you know as
Speaker 3: cappy am I that they shouldn't do the that they
Speaker 3: shouldn't do their due diligence and learn how to function
Speaker 3: and how to protect yourself. But at the same time,
Speaker 3: like life is a series of things to stop you
Speaker 3: from doing things that you want to do sometimes, and
Speaker 3: it's about just figuring out how to emotionally and physically
Speaker 3: put yourself out there so you can do your art.
Speaker 3: And and but yeah, I've rambled off of AI. But
Speaker 3: AI is it's dangerous, and I it's there's something something
Speaker 3: so cold about it. And it's because again I would
Speaker 3: argue as a and I'm sure there's plenty of other
Speaker 3: things that make us different as a species, but if
Speaker 3: you look at you know, and yes, I'm also where
Speaker 3: the birds of Paradise they make the designs on the ground,
Speaker 3: and there are other animals that kind of make things
Speaker 3: that are that are art. But the thing that we
Speaker 3: do that's so special is that we make art, we
Speaker 3: make things, we make things without and that we don't
Speaker 3: make them for a specific purpose other than art. And
Speaker 3: I think that's so so special and it's so uniquely
Speaker 3: human and and and AI is never gonna it's never
Speaker 3: gonna pull it off, right, it's always a it's a
Speaker 3: it's it's a it's it's it's a hollow echo of
Speaker 3: what we're capable of doing as a people. And it's
Speaker 3: just big business. And you know, shaving a couple of
Speaker 3: bucks off of paying an artist that has really put
Speaker 3: it in a place where I mean, again, it's so
Speaker 3: sad that artists are always the first ones to go yeah,
Speaker 3: you know, but uh, and I would argue we're the
Speaker 3: ones that make life interesting. But but yeah, no, it's
Speaker 3: there's so many ways that you could save money and
Speaker 3: time using artificial intelligence and instead, you know, cutting out,
Speaker 3: cutting out the person that makes a poster is so
Speaker 3: safe to me. So yeah, whoever is listening here, support support,
Speaker 3: support your local artists. We're all hanging by a thread.
Speaker 7: Yeah.
Speaker 2: Well, it's it's it's of the it's of it's of
Speaker 2: this time too, and it's you know, it's it's it's
Speaker 2: in in in real time and it's distributed unevenly and
Speaker 2: uh one of the so everybody's been und Victor v.
Speaker 2: Gerbo musician, Uh New York City really really uh fascinating
Speaker 2: to talk about. I don't know, it's like the generation
Speaker 2: of art, like the special aspect of art. But I
Speaker 2: have I have the big philosophical question I gotta I
Speaker 2: gotta throw at you. And I know you're a big thinker.
Speaker 2: You've been thinking about these things too, much like myself though,
Speaker 2: But the the the big question of the show is
Speaker 2: why is there something rather than nothing? I.
Speaker 3: Hm, I I think because the something is beautiful? I mean,
Speaker 3: it really is. I whenever I'm you know, on occasion,
Speaker 3: you know, I'll be talking to my girlfriend and you'll
Speaker 3: say like, oh, this is terrible, and I'll say, like,
Speaker 3: but this is you know, like even even the bad
Speaker 3: stuff is beautiful, even the you know, even even even
Speaker 3: even the inconveniences, even the even the sad moments are
Speaker 3: gorgeous because life is fascinating. I mean, colors are great. Colors,
Speaker 3: just colors, like like, I I think that you know,
Speaker 3: the something, that something is amazing and we've all been
Speaker 3: we're all here, we've been given something, and we have
Speaker 3: time to do something with that something, and just experiencing
Speaker 3: the something and beholding the something is gorgeous. And I yeah,
Speaker 3: I I this is not the most formed out statement
Speaker 3: that I've ever made, but he can.
Speaker 2: Answer this question. No, no, but no, I really no,
Speaker 2: I'm serious. I mean, I I love what you have
Speaker 2: to say. I I think it's some I think I
Speaker 2: think what you say is that there is some you know,
Speaker 2: there is there's something beautiful in and of it, in
Speaker 2: and of itself and doing it. And I think you're
Speaker 2: right with like making art and you know, being comfortable
Speaker 2: with like creating, creating, creating and because it goes in
Speaker 2: such a it goes in such a far out place,
Speaker 2: so it's it's it's a great it's a great spirit.
Speaker 3: Yeah.
Speaker 2: No, even uh Victor, Yeah, oh, I was.
Speaker 3: Just gonna say that, you know, Like even Bob Dylan
Speaker 3: when he was being interviewed I think on on on
Speaker 3: the on the success of Blood on the Tracks, his
Speaker 3: response was, I don't understand why people like this album.
Speaker 3: It's so painful. And that's like, even even the bad
Speaker 3: stuff is good, even the the the artist's ability to
Speaker 3: take the pain in their life and synthesize it into
Speaker 3: something that's just out of this world gorgeous is so incredible.
Speaker 3: For Tez has a series he his entire life. He
Speaker 3: was supported by his wife, who was eight years younger
Speaker 3: than him, and every photograph she has a cigarette in
Speaker 3: her hand. And in the seven she was diagnosed with
Speaker 3: lung cancer and he, you know, as soon as he
Speaker 3: became famous, he spent you know, he was simultaneously globe
Speaker 3: trotting and nursing her to her death, and like a
Speaker 3: true artist, he documented the whole process through her funeral.
Speaker 3: There's a self portrait of him with her urn under
Speaker 3: his under his arm, and they're wow. They're they're they're
Speaker 3: so beautiful and they're so painful. And then simultaneously, right
Speaker 3: after she passed away, he's he stole a polaroid camera
Speaker 3: from Graham Nash. Of all people, artists, artists would hang
Speaker 3: out in his apartment and gram Nash had just gone
Speaker 3: to had just gone to the the Polaroid factory and
Speaker 3: they were giving famous artists cameras and film and he
Speaker 3: showed up in the apartment right afterwards, and he showed
Speaker 3: it to him and he said pretest said, oh, thank
Speaker 3: you so much. And my father was interviewing him for
Speaker 3: the they did a small pot Lloyd book and grabbed that.
Speaker 3: She like, I couldn't tell him it wasn't for him.
Speaker 3: And when my dad asked, you know, like, do you
Speaker 3: remember what day it was? And he goes, you know,
Speaker 3: any idea what we were on back then? I have
Speaker 3: no idea what day Michel was. But then he started.
Speaker 3: He was apparently walking past Brentano's bookshop, Chretez, and there
Speaker 3: was a glass sculpture in the window, and he said
Speaker 3: it was a it was a a Morano glass sculpture,
Speaker 3: and it was just a head and a neck, just
Speaker 3: kind of tilting like this very modern art, and he
Speaker 3: said that the nape of the neck and the posture
Speaker 3: reminded him of his wife so much that he avoid
Speaker 3: he avoided going into the story. He would cross the street,
Speaker 3: and finally when they pulled it out, when he when
Speaker 3: they pulled it out of the window, he ran in
Speaker 3: and bought it and he started photographing this glass sculpture
Speaker 3: in his window over two fifth Avenue. And it is
Speaker 3: the most, I would argue, the most incredible body of
Speaker 3: work that he ever did. And it's about it's about
Speaker 3: grief and understanding and and and life. They're funny, they're sad,
Speaker 3: they're they'll just rip you to shreds. And it's all
Speaker 3: immediate because he usually worked with, you know, black and
Speaker 3: white photography. He's very frugal with his film. He would shoot,
Speaker 3: send it to a printer, get it back, circle the
Speaker 3: ones on the contact sheet, et cetera, et cetera, et cetera.
Speaker 3: And this was he needed immediate response. And they're just
Speaker 3: so beautiful and they come from such a great place
Speaker 3: of pain. But even that, even that something is just gorgeous.
Speaker 3: And that's why I would argue that something, even when
Speaker 3: the something is is bad even when the something is hard,
Speaker 3: even when the something is confusing, it's just so great
Speaker 3: that we get to be the something and to create something.
Speaker 3: And yeah, I highly recommend searching out that there's there's
Speaker 3: two books on it. They're just incredible. One he produced
Speaker 3: when he was alive, the other one was published after
Speaker 3: he died, and they're they're just I would argue, they're
Speaker 3: it is a sacred body work. And I think for
Speaker 3: anyone who's who's dealing with grief or trying to understand grief,
Speaker 3: it is a It is a it is a fascinating
Speaker 3: study from someone who has spent their entire life perfecting
Speaker 3: a craft. Jane, I love. The reason why I love
Speaker 3: listening to Bob Dylan now is I'm fascinated with a
Speaker 3: lot a lot of guitar players are obsessed with what
Speaker 3: was the guitar that was used by you know so
Speaker 3: and so in the sixties when they were at the
Speaker 3: height of their family. And I'm like, I want to
Speaker 3: know what Clapton's using right now after years and years
Speaker 3: of amps overheating and guitars feeding back, I want to know.
Speaker 3: I want to know what he's been like, Yeah, this
Speaker 3: is this is the thing and we're so lucky when
Speaker 3: we do, because artists usually just burn up and you know,
Speaker 3: go out like stars there they just so when we
Speaker 3: do get artists that manage to figure out, either by
Speaker 3: by intent or just by luck, that they're still here.
Speaker 3: I always think that what they do later in life
Speaker 3: is worthy of such study because it's such a gift
Speaker 3: to be able to see what they've what they've figured out,
Speaker 3: because I don't believe there's any shelf life on creativity.
Speaker 3: That it's not just something for for for youth. It's
Speaker 3: a it is a way of life and and a
Speaker 3: thing that should always be a part of who you are.
Speaker 3: But yeah, even the even even even the bad times
Speaker 3: are good, even the even the bad, even the bad,
Speaker 3: even the sad, something is just stunning. We all are
Speaker 3: lucky to be here.
Speaker 2: Thank you, Thank you, brother Victor. Where do people go
Speaker 2: to find and your beautiful music, your live music? Where
Speaker 2: do your recordings? Where do people go to find your r.
Speaker 3: After that depressing rant, I'm surprised anybody want to come
Speaker 3: find me. You can find me at Victor v gerbo
Speaker 3: dot com. V I C t O r V g
Speaker 3: U r b O. And it's that at on every
Speaker 3: social media. I'm the only one of me that I've found.
Speaker 3: I think I'm the only one of me that wants
Speaker 3: to be me. And if anyone wants to be me,
Speaker 3: and and and if I'm not on that, if if if,
Speaker 3: if there's a new social media platform that I have missed. Uh,
Speaker 3: I encourage, I encourage your listeners to write to me,
Speaker 3: and that will be what I spend my evening signing
Speaker 3: up for all of my shows are advertised on my website,
Speaker 3: very active on Instagram and Facebook. And our only next
Speaker 3: show on the books at the moment is I submitted
Speaker 3: a protest song to the When Voices Rise songwriting contest
Speaker 3: and I'm a finalist in that, and on August twenty first,
Speaker 3: I'm to perform amongst the other finalists and winners at
Speaker 3: Joe's Pub. It should just be it should just be
Speaker 3: one song. But I've listened to all of the other
Speaker 3: acts and it's it's it's a really great lineup and
Speaker 3: it's an honor to be amongst them. And I also think, again,
Speaker 3: as we were saying before about you know, socially conscious
Speaker 3: music and topical music of the time. Again, I've always
Speaker 3: kind of pushed away from that, and I'm I'm I've
Speaker 3: decided not to because I think it's important and I'm
Speaker 3: seeing how important it is and listening to other people
Speaker 3: who who have made the same the same call, and
Speaker 3: and sort of listening to how important that is.
Speaker 4: Uh.
Speaker 3: And you can hear that live at Joe's Pub on
Speaker 3: August twenty first. The tickets are on sale at Publictheater
Speaker 3: dot org. And I'm sure I'll have more shows between
Speaker 3: then and now, and I'll be advertised on my on
Speaker 3: my website.
Speaker 2: Thank you so much, Victor. I gotta tell you, like,
Speaker 2: I really like you know, in talking about our they're
Speaker 2: just really inspired by a lot of the ideas that
Speaker 2: you mentioned and taking us into those those beautiful works,
Speaker 2: Like I was thinking that the Curtez and they're saying,
Speaker 2: like you know, O, the pain, the horror, the loss
Speaker 2: and the grief and the work that an artist does
Speaker 2: too to pull to pull that through and and in
Speaker 2: my mind like really help others through the work, through
Speaker 2: the work in creation that they do. And I think
Speaker 2: that's such a powerful idea. And I really thank you
Speaker 2: for bra for for leaning into that. And aren't that
Speaker 2: you create?
Speaker 3: Yeah, well it's it's I I believe that there are
Speaker 3: so many you know, cons and scams and predators in
Speaker 3: the art world. You know, people who are trying to
Speaker 3: make a buck off of artists because they know that
Speaker 3: we can't do anything else. We're stuck doing this, like
Speaker 3: you know, there, there's, it's, it's and you know, and
Speaker 3: there's certainly you know, we're we're also we're all so
Speaker 3: hungry to to to to be there. But now I
Speaker 3: I think that it's being an artist is an important
Speaker 3: it is an important job, and the best thing that
Speaker 3: you can do is look at and study other great
Speaker 3: art and just lean lean into, lean into what what's
Speaker 3: going on in your life and figure out a way too,
Speaker 3: you know, whether it's escapism from that, whether it's documenting
Speaker 3: it and and figuring out a way to just make
Speaker 3: something that other people can look at and say, I
Speaker 3: see myself in that. I feel that even if it's
Speaker 3: something totally different, it's it's it's an amazing form of communication.
Speaker 3: And if you know that, if if you get one
Speaker 3: person to feel that when you do a show or
Speaker 3: when you make a piece, that's that that's a win.
Speaker 2: So yeah, that's beautiful, Victor, pleasure to meet you. Thank
Speaker 2: you for living the art life and uh great great
Speaker 2: love to the great city. Yea work in your live performances,
Speaker 2: and thank you so much.
Speaker 3: We thank you for having me, and I hope there
Speaker 3: was something vaguely coherent coming out of me that you
Speaker 3: could use.
Speaker 2: And we're trying philosophy. We're trying philosophy here.
Speaker 3: Oh boy, well, thank you so much, brother, you two
Speaker 3: all right, I'm a great arrested.
Speaker 8: Let's go, brother superior jumped the gun. But all in all,
Speaker 8: it was a little fun that ripped the buttons clean
Speaker 8: off your coat. She win you not to let me in,
Speaker 8: and that to do so was embodied, said, I tell you,
Speaker 8: she want you not to glow.
Speaker 3: Not something. There's gonna be.
Speaker 8: No waters in a lock the doors should have told
Speaker 8: your daughters.
Speaker 5: But well, well nobody now good looks told him I coming,
Speaker 5: and you did the ground and start running before I
Speaker 5: faced the curtain.
Speaker 7: Live the bath, be the light the hand halse well,
Speaker 7: burn the back down and sit and wait and watch
Speaker 7: till be asks if the ground how.
Speaker 9: Lack of volua, Boy, there will be no words down
Speaker 9: to the burn.
Speaker 7: Imagine gonna form of wallsend.
Speaker 10: W sat together at the diner table and I told
Speaker 10: you every single faithle and tried to prove that this.
Speaker 3: World is utterly blast, honey, maybe on the.
Speaker 10: Table ground and your mama thinks your digs abound that
Speaker 10: I got.
Speaker 7: A room here. Can you imagine that?
Speaker 5: The way the value?
Speaker 3: You know, I've got something for you, hand it, all
Speaker 3: of it.
Speaker 5: You gotta cloves, grind Who did the jukebox.
Speaker 7: Turn in the pretty little line?
Speaker 3: Burn?
Speaker 5: Long after the villogy gone? Light the handhouse. We're gonna
Speaker 5: burn the master down and and wait and wash. She'll
Speaker 5: be afters in brown? How like the value burn? There
Speaker 5: will be no words the sound.
Speaker 7: Of the burnt imagine blom the walterer.
Speaker 3: I promise not to me.
Speaker 7: Won't you please light up a kept and I'll have
Speaker 7: a couch before I leave this place.
Speaker 8: Danasy is never learning to see change.
Speaker 3: And the wheel keep turning.
Speaker 2: You can see you in the.
Speaker 5: Lines of your face. A bang along. It'll be the
Speaker 5: first thing I should he then do the plane and riding.
Speaker 5: Thank is gone, and.
Speaker 7: The king is dead and the radio is hanging.
Speaker 3: On by the rest of it.
Speaker 5: If you feel something burning, don't you be wrapped like
Speaker 5: the hand house. I'm gonna burn that cocker down.
Speaker 7: The melody.
Speaker 5: You little racketball will never make a sound. Fell trouble try.
Speaker 9: You'll never find an end soon as you rather, we think.
Speaker 5: One more time, thank you.
Speaker 1: This is something rather than nothing.
Speaker 3: S