September 5, 2024 • 50 mins
Jack Kays is a singer and songwriter from Cincinnati, Ohio. In this episode, we dive into a whole bunch of cool stuff, starting with Jack's newest album, Deadbeat Disc 1. We also explore Jack's lifelong desire to create music, his evolution as an artist, life on a major label, and the upcoming Deadbeat Discs 2 and 3. Additionally, we discuss his culinary passion, Anthony Bourdain vs. Guy Fieri, tattoo culture, Drake vs. Kendrick, punk rock influences, Van Halen, My Chemical Romance, Nirvana Unplugged, and so much more! As always, brought to you by Sailor Jerry!
https://www.instagram.com/jackkays/
https://sailorjerry.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
yo yo yo check one, check two.
Jack k's, yeah, yeah, yeah,yeah, yo hey hey, hey, yeah,
(00:46):
yeah, yeah, yeah Yo hey, hey,hey, yeah, yeah, yeah, yeah, yo
hey, hey hey, check one, checktwo, check one, check two.
Yo yo, yo, yo yo, what up, man,how are you?
(01:14):
I'm good, how are you, I'm good, I'm good.
Can you hear me all right?
Speaker 3 (01:21):
yeah, I'm getting a little bit of delay, but I don't
think it's gonna matter in thelong run okay, cool, cool.
Speaker 1 (01:29):
Yeah, I can hear you.
All right, I'm good.
Speaker 3 (01:31):
I'm good on this end, I think, as long as you're good
yeah, like I just see yourmouth moving and then your voice
like starts afterwards.
Speaker 1 (01:39):
But if that's okay, then that's okay yeah, I mean it
should record fine on your endand my end as well.
So as long as it doesn't fuckyour vibe up, uh, you know we
should be all good.
All right, cool, yeah, itdoesn't.
It doesn't mess with me, solet's do it.
Awesome man, all right, jackk's here today on the sailor
(01:59):
jerry podcast.
Uh, very stoked to have you onthe podcast, my man.
Uh, I'm new to kind of the jackhayes phenomenon.
So, as a, as a musician, as anartist, uh, it's always a really
cool thing when you discoversomeone new, uh, who you enjoy
and who's doing some cool shit.
Speaker 3 (02:19):
So, uh, thanks for being on the podcast today dude,
thanks for having me and thanksfor the kind words.
I appreciate it.
Speaker 1 (02:26):
Yeah, man, deadbeat disc one Okay, officially out,
released into the world.
You know there's always a lotof emotions that come along with
releasing an album into thewild.
There's a lot of work that goesinto it, obviously A lot of
stress leading up to it.
How's, how's the vibe for youright now?
(02:49):
How's it feel to have a recordout?
How's everything going?
Speaker 3 (02:53):
um, I'm feeling pretty good.
It's like, uh, it's the longestpiece of work I've dropped in a
long time.
Uh, and I think I'm not reallyquite quite there yet with the
relief because we have a disctwo and a disc three and disc
two is wrapping up and discthree is like still like very
much in the works.
So I feel like disc one droppedand the work finally started.
(03:18):
That's where I'm at.
Speaker 1 (03:21):
Nice, nice.
And you know, the record isincredible, man, man, it's
awesome.
So congrats on that great work.
Um, you know some things thatI've kind of taken in from going
through your discography andkind of, you know, newly being
introduced into your world isthat you seem pretty
self-sufficient as an artist andas a songwriter.
Um, get into a little bit ofyour backstory in a bit here,
(03:46):
but when it comes to writing analbum, creating an album, did
you have a producer on thisalbum?
Did you produce it yourself?
How did all the songs cometogether?
Speaker 3 (03:54):
Okay, so, I write all the songs sitting where I am
right now this is my home studioand then, you know, depending
on the song, sometimes I feellike I have the ability to
produce it myself.
So there's a couple songs likethrow away, get a job, deadbeat,
were recorded here in my studio, like in the chair that I'm
(04:17):
sitting on.
And then, you know, sometimes Iwrite a song and I think I
think this is a little bit outof my realm.
I think I need somebody who's alittle more experienced to go
in and record on this.
So, um, yeah, you know that'swhere another producer comes in,
like, uh, matt squire is aproducer that I worked with a
lot on this record.
(04:38):
Uh, no, love for the middlechild is also on this record.
And then um, drew falk, wizardblood, who does like a lot of
stuff in the metal scene uh,he's on this record.
And then um, drew falk, wizardblood, who does like a lot of
stuff in the metal scene uh,he's on this record as well.
So, you know, depending on thesong, depending on how I'm
feeling, I just like decide,kind of where to take it to.
Uh, but all the writing happenshere in my room that's awesome
(05:00):
man.
Speaker 1 (05:00):
Yeah, it seems like, uh, like a song by song kind of
basis is the way to go, and Ithink that's a cool approach too
, because it's like you have,you know, you have the album as
a whole but, um, you know,nowadays especially, you know,
there's such an importance onsingles so some songs sound
great with just the guitar andvocals and, like you're saying,
you know when the song needs alittle bit something more, you
(05:22):
know.
Yeah, so that's awesome man.
Speaker 3 (05:24):
I mean it's not necessarily that I know it's
like the choice.
You know what I mean.
Speaker 1 (05:28):
Yeah, you know what I'm saying.
Speaker 3 (05:29):
Because, like a lot of times, the production of a
record just comes down to achoice, like, do you want it to
sound more stripped back or doyou want to produce it out?
So that's kind of what thatcomes down to, I think comes
down to.
Speaker 1 (05:47):
I think, yeah, man Dope, and you know you mentioned
, you know, disc two and discthree down the line, which I
know a lot of people are curiousabout.
Kind of just looking down theline a little bit on that, Is it
going to be like like a body ofwork completely, or are they
going to be completely differentvibes, or where are you
thinking about going next fortwo and 3?
Speaker 3 (06:05):
Yeah, I mean, ultimately they'll all live
under deadbeat.
You know what I mean.
So I don't know if you've everseen an album on Spotify or
Apple Music that has disc breakson it.
You know what I mean.
Like one of the one of theweird like references that I
(06:27):
have is like this ray schremeralbum where like one half is um
is sway lee, and one in theother half is what's the other
guy's name?
Like slim jimmy or some shitlike that?
Um, yeah I forget.
Yeah, it's like they're twohalves of the album.
You know what I mean.
And that's a disc, one disc,two album.
Um, so that's how it'll be alllike at the at the end of it all
.
You know what I all.
However long down the road thatis hopefully not too long.
Speaker 1 (06:51):
That's how it's going to look but you seem like, uh,
kind of a prolific writer aswell.
Are you someone who you know isconstantly writing, constantly
(07:11):
like in the studio every day, ormaybe not every day, but just a
very active like creative flow,or do you kind of go in spurts?
Speaker 3 (07:18):
um, you know, the past couple of months, I think,
production like when I'mproducing stuff like disc two, I
have a lot of, I have a lot ofproduction on like um I think,
like half the songs are producedby me on disc two or something
like that.
So on that, you know front I'min the studio every single day
kind of tweaking stuff andadding things here and, like you
(07:40):
know, my drummer will send methings and my little brother
plays bass on all the tracks andhe'll send me stuff and I'll
you know, see how it fits Likeoh, add a harmony here.
You know like just kind offucking with production and
stuff.
Sorry, can I?
Speaker 2 (07:52):
curse on here Is that okay.
Oh yeah, okay, let it fly.
Speaker 3 (07:56):
Yeah, just kind of messing with stuff and like and
you know, working out kinks andtrying to see if I can add
anything to the record.
That's different.
But as far as writing goes, Iwould say, like you know, in a
good period where I'm likereally feeling it, like I'm
really feeling good, I'mprobably writing like two songs
every couple of months, like Idon't.
(08:16):
I don't write that often andnormally when I write something,
it's I don't.
I'm not like the kind of guythat, like, takes a hundred
shots and only you know puts oneof them out, like basically
every song that I write ends upcoming out yeah, okay, cool,
cool, that's dope, yeah, that's.
Speaker 1 (08:34):
That's good to know, because it's like it's.
You know, sometimes it's eitherone or the other.
I feel like there's becausesome of your stuff, honestly, it
feels like so, uh, you know,cathartic and like, uh, just
like, lyrically speaking too, alot of it just feels like just
something you just have to likespit out so you never know, as
as a fan, like how that's comingout, if it's, if it's like, you
(08:57):
know, a labor process where ittakes a while to get it just
right, um, or if it's justsomething like you're saying,
like you're just you know, okay,boom, that one's out of my
system.
On to the next one.
Speaker 3 (09:07):
Yeah, I mean I will say like I've been writing songs
for 10 plus years now, um, andit took me like six years to get
one good song you know what I'msaying, and so that early six
years was writing a lot of songs.
You know what I mean.
It was like getting in thestudio every single night and
trying to write something likeno matter what, because I was
just trying to like figure outwho I was.
(09:28):
But now that I'm kind of thereand I like kind of know who I am
and what I want to sound likeas an artist, like um man, it's
like it's pretty infrequentlythat I write a song and it's
actually that's kind of scary,because sometimes I write a song
and I'm like I don't know whenthe next one is going to happen.
If it's gonna happen like it'sthis weird like every time I
(09:51):
write a song I feel like it's mylast, but that's never been the
case.
Speaker 1 (09:56):
Yeah, yeah, that's a trip and I know you know, as you
progress and you put out morealbums and more songs, songs and
kind of.
You know, life happens, you,you know you move this way, you
move that way, it's always kindof, uh, it is scary to think,
like you know, like fuck, likeyou know, I know I'm not out of
music, but what if I am?
(10:16):
You know like what, where's thenext?
So where's the next song gonnacome from?
Speaker 3 (10:21):
uh, what's it gonna sound like, or what?
Speaker 1 (10:22):
chord progression.
Speaker 2 (10:23):
Is it gonna sound like, is it?
I get all existential about it.
Speaker 1 (10:26):
You know what I mean yeah, awesome man, on, uh, on.
You know mixed emotions, thatep, uh, you know you kind of
dabbled in a lot of the hip-hopproduction that I know you know
you're very comfortable withdisc two, disc three.
We're gonna see a little bit ofthat come back into the mix.
Speaker 3 (10:47):
Honestly, no man like um, that first six years that
I'm, that I was telling youabout.
Speaker 1 (10:52):
I was like that's it that I was only making hip-hop
music.
Speaker 3 (10:55):
You know what I mean.
And those are like that.
Those four songs or whateverthat kind of like lean in that
direction, are the only like inmy opinion, like those are the
only passable records that cameout of that period of my life.
Um, and I've always been thetype, like I don't want to, like
lie to people and like act likeI'm not something or like act
(11:16):
like I'm something that I'm notlike.
I want people to be able tolook at my discography and see
the progression and see where Icame from and see what I used to
talk about, what I used tosound like, versus what I talk
about, what I sound like now.
Um, so the purpose of mixedemotions was to kind of show
like you know, how did I getfrom from track one to morbid
(11:36):
mind, which was at the end ofthe project yeah, man, that's.
Speaker 1 (11:42):
That's really cool and I dig that.
Um, you know, the evolutionthat you've kind of gone through
as a songwriter is always anexciting process as an artist
and as a fan to like listen toand like dive into.
So it's cool that you aren'thiding that.
You know what I mean it's like,hey, this is, this is where I
was at, this is where I'm.
(12:02):
I'm at now.
It seems like I want to rapabout songwriting real quick,
because you have a lot ofauthenticity in your songwriting
, a lot of emotion and a lot ofmelody, and those are the things
that, obviously some of themajor components to me as to
(12:23):
what makes a great song.
When you're kind of sittingdown to write a song, or when
you hear a song that you love,what is it?
What makes a good song to you?
Speaker 3 (12:34):
Oh man, to me this is going to be a weird take.
Okay, to me, the most importantpart of songwriting is
phonetics.
Do you know what I mean?
How do the words sound next?
To each other.
Sometimes I hear a song andsomebody is saying something
(12:58):
that means a lot and it hitshard, but the phonetics are too
clunky and it just doesn't comeacross good.
You know what I mean.
So, like when I'm writing asong, like if the phonetics
aren't coming, like the song'snot going to happen.
Speaker 1 (13:18):
Yeah, so phrasing is a big deal to you, because I
mean you can tell, not phrasingthough, like the way that the
words sound coming out of yourmouth.
You know what I mean got you,got, you, got, you got, you know
like, is it easy?
Is it easy to say them is?
Speaker 3 (13:32):
it something that you want to say over and over again
, like I don't want tonguetwisters and I don't want
syllables that like happen in myin the front of my mouth to be
right next to syllables thathappen in the back of my mouth.
I don't know if that makes thisis like a weird this, like
that's really fucking scientific.
You know what I'm saying, like,but that's like something I
(13:54):
think about when I saw thatstems from?
Speaker 1 (13:58):
yeah, do you think that stems from like, like
hip-hop style phrasing andphonetics, or like poetry, or
like how, like, how, causethat's not really necessarily
like?
Uh, I mean, it is, you know, amusic thing.
It is, it can be a rock androll thing, it can be a punk
rock thing.
But when I hear you, I do hearexactly what you're talking
(14:19):
about, you know, I hear, I hearthe focus and the attention to
detail on that.
Where, where did you kind ofpick that up?
Where does that come from?
Speaker 3 (14:28):
I think it's something that comes from like a
hip hop background.
You know what I mean.
Like I learned how to writesongs by rapping and when you're
like, when you're going fastand you're rapping, like you
don't there's not enough room tolike to stumble over clunky
syllables and stuff like that.
And it's not somethingnecessarily that I do
(14:48):
purposefully Like.
It's not like I go into a linebeing like all right, this has
to sound phonetically good.
But you know, if I write a lineand it's not quite good, the
first thing that I look at isn'tyou know, the actual like the
meaning of the line.
I always look at like what canI change phonetically about this
?
Speaker 1 (15:10):
damn dude, that's rad .
I like that.
That's not something that, uh,that you hear a lot, um, you
know, usually it's like you knowsome, you know chord
progression or you know, uh, youknow melody or lyrics or
something like that, and allthose things are important to
you, obviously.
But I like how detailed andspecific your answer is on that
(15:32):
question yeah, I mean likelyrics.
Speaker 3 (15:35):
The meaning of the lyrics is important.
You know what I mean.
But, like, when I go into asong, I'm not always thinking
about what it's about.
You know what I'm saying?
Like, yeah, the, the substanceis already there.
Like, as long as I talk aboutmy experience, you know, I know
that I'll end up writingsomething that resonates and is
important to me, like I never be.
(15:57):
I'm never like, oh, I want towrite a song about space and
then, like, the song comes outshit, because I'm talking about
something that doesn't matter tome or that I don't know about
I'm only ever writing about myexperience.
Speaker 1 (16:08):
I do think I'm only ever writing about, like my
personal experience.
Speaker 3 (16:14):
So, like you know, it's never like um, never been a
thing where I'm like oh man,like I like this song, I like
everything about it, but whatI'm talking about isn't, isn't
good, like I've never felt thatway yeah, do you ever?
Speaker 1 (16:30):
uh, you know, personally speaking from my
experience as a songwriter, I'mvery much as a lyricist, in the
same vein as you, where it'smostly 99.99% about personal
experience, because I feel likeI have to have some sort of
attachment to the lyrics and tothe song itself, um, to for me
(16:53):
as an artist, and also I feellike that translates when people
hear it, that they know you'reconnected to it as well for sure
do you ever worry?
do you ever worry about like um,you know like, only like, only
being that type of artist youknow what I mean like, do you
ever worry about that?
You might be relying too muchon um.
You know having to to writeabout your own experiences and
(17:15):
sometimes artists can go downtricky roads with that, because
it can be crazy.
Sometimes it can be hard tofeel satisfied.
Sometimes, if you're writing asong or writing a record,
sometimes it feels like you'realways kind of reopening
yourself up, so it can be kindof an exhausting process.
(17:36):
How is that for you?
Speaker 3 (17:42):
Yeah, I mean I'll talk about like a song off disc
two to try to answer thisquestion and forgive me if I'm
not answering the questioncorrectly and feel free to
correct me on the question.
So there's a song on my there'sa song on disc two about one of
my friends that passed away froman overdose, right and for, and
it's been you know six or sevenyears since he passed away.
(18:05):
I think it was six and I thinkit'll be seven in september.
Um and uh, and I've like wentand tried to write a song about
him like probably 20 times youknow what I mean and it just
wasn't happening.
And every single time I wouldlike reopen that can of worms
and like be fucked up for therest of the day, like just like
(18:26):
super sad and like don't talk tome.
You know what I'm saying, whatI'm saying.
So, yeah, I definitely feel likethere is like there is a line
to toe where, like, you want towrite about something, you want
it to be fresh, you want it tosound angry and bitter or sad
and remorseful or whatever thosefeelings are.
(18:46):
Um, but I think, like trying towrite about something when it's
not fully processed yet andwhen, like, you don't fully
understand the feelings, justisn't going to work out and
you're going to end up puttingyourself in more pain than if
you would have just not writtenat all.
You know what I'm saying.
But, on the other hand, if youlike, fully grieve those
(19:07):
feelings, if you feel thefeeling and you're done and
you've like processed that in ahealthy way or whatever, and
then you go and write the song.
That's like when somethingcathartic happens.
Does that answer the question?
Speaker 1 (19:21):
Yeah, yeah, absolutely.
And I know like I went throughkind of the same thing trying to
write a song about my dad whenhe passed.
It's like it's one of thosethings where you want to express
it so bad.
But like you're saying, the timehas to be right, all the things
have to kind of align for thatsong to come together, that
(19:42):
moment to come together in a waythat's real, because I think
you want to.
You know, you know it's insidesomewhere, at some point it's
going to come out, uh, and, andyou just, uh, you just want it
to happen, but you can't reallyforce the process.
Speaker 3 (19:55):
Yeah, but especially with grief, dude, that's such a
complex feeling, you know yeahthere's so many stages and
there's so much death to thatemotion.
Like I'm somebody that handlesdeath in a really weird way,
like I've never cried out ofdeath, you know, friends, family
, dogs like I just I just don'tcry for, so it doesn't hit me
right away for some reason.
(20:16):
It's like something that takesyears and years to settle in and
it takes like life eventswithout that person for me to
like fully understand the weightof the loss.
You know what I'm saying, soyeah, for sure or like in the in
the context of my friend, likeI didn't fully understand the
(20:37):
weight of the loss until I untilI like became really close
friends with his brother, liketwo or three years ago, and like
we started talking every dayand then I was like holy shit,
you know what I'm saying likethe weight of it really started
to set in um and the idea thatthat person like that we both
have memories with, like youknow, he's not here anymore.
(20:57):
It's, it's a, really it's a.
It's a very, very deep feeling.
So to write about somethinglike that you can't just like
that's not a raw emotion towrite about and my like, in my
experience, the way that I writesongs, it's not something that
I can write about when it'sfresh.
Speaker 1 (21:20):
Yeah, man, absolutely , experience the way that I
write songs.
It's not something that I canwrite about when it's fresh.
Yeah, man, absolutely.
Um, that's awesome.
Thanks for sharing that.
That's really cool.
Um, insight too, just about,like you know, the creative
process and about being able to,you know, kind of transform
something as complicated asgrief and loss into, you know, a
song that I, you know, I'mstoked to, to be able to hear
and check out one of these days.
Man, excited to hear that, ofcourse, I'm excited to have it
(21:41):
out.
Yeah, sick are you.
I know you got some showscoming up here.
You got riot fest coming up.
Uh, which is going to be sick.
Shout out, riot fest, awesomefestival.
Are you going to be sick?
Shout out, riot Fest, awesomefestival.
Are you going to be doing likekind of heavy touring on this
record?
Where are you at with touring?
Are you like a guy who lovesbeing on the road?
Do you like being more in thestudio at home?
(22:03):
Where are you at with that?
Speaker 3 (22:05):
I'm a homebody, but I love doing shows, so it's weird
.
Speaker 1 (22:11):
You know like I don't love being on the road.
Speaker 3 (22:13):
You know what I'm saying.
But when I'm home, I do want tobe doing shows.
So there's a little bit of atrade-off there.
We're doing these shows in thefall, just because I thought it
was kind of cool to surroundRiot Fest and we had this other
festival planned but thefestival canceled so we ended up
having to pull that off.
But, um, so we were just like,oh, let's do some like shows in
(22:36):
some of these you know seamarkets that we hadn't really
been to yet.
Um, but yeah, when?
Um, I'll, I'm I don't know howmuch I can say I'm doing a lot
of touring, but I just haven'tannounced, okay, I haven't good,
good good, all right.
Speaker 1 (22:52):
Good, I like that.
I'm doing a lot of touring, butI just haven't announced.
Okay, I haven't.
Good, good, good, all right.
Good, I like that.
Speaker 3 (22:56):
I'm definitely gonna be on tour a lot and, like you
know um, I'm gonna cross themotions and and do all that good
stuff oh hell yeah have you?
Speaker 1 (23:05):
have you crossed?
Have you crossed oceans before?
Speaker 3 (23:07):
I've never been to like, not for a show.
Speaker 1 (23:09):
I've crossed oceans for personal reasons, but never
to make birds play music oh,hell yeah, dude, that's exciting
congrats man yeah, we got a lotof questions on the internet
about people wondering if you'recoming to uh, uk, australia,
all those places so it's good toknow that uh hell yeah, awesome
(23:32):
, man, awesome, and are you?
Are you when you're playing, uh, when you're headlining, are
you doing full band?
Speaker 3 (23:37):
yeah.
So, um, we're doing a full band.
My little brother plays thebass and then, um, my buddy
will's playing.
Uh, you know he's gonna beplaying guitar as well as me
playing guitar.
I always play guitar on stage.
And then my good friend Brandonis a sound guy out here and
(23:58):
he's in a couple bands.
Everybody that's in my band isalso in, like other bands, but
my good friend Brandon, he willalso be on the road and he'll be
playing drums.
So, full band set up four piece.
Speaker 1 (24:09):
Hell, yeah, awesome.
And you know, to give ourlisteners a little bit of
background on you, um, you know,I know you've been playing
music for a long time, uh, multi, multi-instrumentalist, um kind
of you know taking us way backa little bit.
Um, how did kind of it all getstarted for you know, was there
any sort of, uh, you know,musical influence in the
(24:33):
household or anything like that?
Like, how did you kind of firstget turned on to music?
Speaker 3 (24:36):
yeah, my dad plays, uh, plays the bass and guitar.
Okay, you know he dabbles inthe drums too, like he's just
kind of he's.
He's like really fucking goodat the bass, like a really
really good bass player, one ofthe best that I know.
Um, he's like a prog rock guy,if that gives you any insight to
how good of a bass player he is.
Speaker 1 (24:57):
And, um, does he play it?
Does he play up here?
Does he play?
No, he holds it down low but,like his face, like he has like
a.
Speaker 3 (25:04):
He has like a rush band that like plays a bunch of
yeah, so he's like supertechnical perfect all of his
friends play, play instruments.
My uncle, uh, is like a, is aguitar professor and owns a
music school and uh teaches kidsguitar and he's an incredible
guitarist, you know, went toschool and studied classical
guitar and, um, you know, so Igrew up around that they're both
(25:25):
in they're both in differentbands my whole life and, um, we
had instruments laying aroundthe house and so, like, I
started uh banging the drum kitwhen I was three years old.
Speaker 1 (25:38):
Oh dude, that's sick.
Speaker 3 (25:40):
And I think I wasn't good at much, I wasn't an
athlete at all, I wasn't good inschool, and so as I got older,
I think my parents just kind ofkept encouraging me to to play
music, and my dad would have meat his gigs and help me set up
the show, and so I understood,um, you know, inputs and outputs
(26:02):
and monitors and like thetechnical side of music and yeah
, what microphones are good forwhat and like so on.
And then you know he would haveme on stage and, um, it started
off as me just playing guitarin his band sometimes and then
me getting on the microphone ordrumming or singing and playing
(26:22):
guitar, you know, playing duringtheir their set breaks or
whatever it was.
So, um, I think like havingaccess to something like that,
learning how to sing into amicrophone on stage really early
on, is like something that I'mreally grateful for because I
think it set me up for what I'mdoing now.
Speaker 1 (26:42):
Yeah, absolutely man.
And at what point did you knowkind of the desire to you know,
write your own music come along.
Speaker 3 (26:51):
You know, dude, dude, I wanted to write my own songs
forever and it just wasn'thappening you know, I'm saying
like I wanted to so bad.
Like you know, I remember my dogdied when I was like in fifth
grade and like I tried to writesongs about that and they were
just garbage and like likefucking unspeakably garbage.
(27:12):
You know what I'm saying.
So bad is like disrespectful tomy dead dog.
How bad those songs were and uh, you know.
So I wanted to write my ownsongs from like a really young
age and I love performing and,um, I don't know, it just didn't
come to me like until until Iwas like until I was.
(27:34):
I remember I was like 17 orsomething and I was making beats
on my laptop and I spilledwater on my laptop and my laptop
broke and then me and mybuddies like got pulled over
with a bunch of weed and we gotin a fuck ton of trouble.
They put my buddy in handcuffsand like it's like scared the
shit out of me and this girlthat I liked didn't like me back
(27:56):
and, uh, my best friend fuckingwent to like like was like gone
all summer and I was just likehad the worst summer, um, and I
just like hated my life and then, um, I like that was when I
wrote my first song.
I think it was called likeLocked Up or something like that
(28:16):
, because I just like spent mywhole summer in my bedroom
making beats you know what I'msaying and I wrote it on a
ukulele because it was like theonly my laptop wasn't working
because I spilled water on itand I didn't have money to fix
it.
So I was just like strumming aukulele and that was my first
song Pretty garbage, but it wasfix it.
So I was just like strumming aukulele and that was my first
song pretty garbage, but it wasthe first time that I wrote
something that was passable.
(28:37):
Yeah, that had to feel fuckinggreat, man, I thought I was.
Speaker 1 (28:42):
I thought I was in I was like wait till they hear
this shit that's awesome, man,and you know, I know, uh, you
know, I know you're a punkrocker as well.
How did you kind of discoverpunk?
How did that come into the mix?
Um, and just you know, aroundthat same time too, around you
(29:04):
know, the the worst summer ever,and you just kind of kicking
off as a songwriter.
What were some bands or someartists around that time that
were kind of, you know, havingan impact on you?
Speaker 3 (29:15):
yeah, I mean.
So, like you know, my dad uhtook me to concerts when I was
young.
Um, like when I was in thirdgrade, he took me to a van halen
concert.
So I was exposed to rock musicreally, really young you know
what I'm saying and I had kindof an open mind when it came to
music.
And then, you know, like I'mtrying to think like the musical
(29:41):
path I got, like in seventh andeighth grade I started teaching
myself guitar and I got reallyinto folk music, like you know,
fleet Foxes and the Head and theHeart stuff like that, bob
Dylan too, like just kind ofanything that was acoustic, that
I could learn to play on theguitar I was, I was messing
(30:03):
around with.
Then, you know, high school camealong and everybody at my high
school was listening to hip hop,and so to kind of fit in with
the popular kids, I startedlistening to hip hop.
I liked how aggressive it wasand I liked how how it was like
kind of made in protest.
I thought that was really cooland I thought that spoke to me.
(30:25):
And then, um, you know, Istarted dealing with some mental
health issues and I was inmarching band at the time and
the marching band at my schoolwas interesting because you know
the, the group that I hungaround with was like super into
a day to remember and motionlessand white and attila, um yeah
you know kind of like superheavy stuff.
(30:46):
So I went from like listening tofolk music to listening to like
heavy metal um you know, justbecause like that was what the
older kids were listening to,and I was like I gotta, I gotta
think this shit's hard.
You know what I mean?
I gotta be, I gotta fit in.
So I started listening to allthat type of stuff um got really
heavy like cannibal corpse andlike bands like that like
(31:06):
started started breaching myinner matrix.
and then, yeah, yeah, but like I, I liked the music, I thought
it was cool, I thought it waslike I think, like heavy metal
is like modern day classicalmusic, like those instruments
are like the the musicians areso skilled, oh for sure.
But I was looking for somethingto like, to like emote to, and
(31:28):
so I found, I found this band,21 Pilots.
And then I found my Chemical.
Romance.
You know I started findingbands like Pierce the Veil and
then you know, I was like thisis kind of where it's at, like
emo music was like my fuckingthing.
(31:49):
I don't think I really foundpunk music like real punk music.
I don't think I really foundand understood it until I was
like 21.
Um, and I was working at thiskitchen and there was this dude
there named Johnny his name wasJohnny and he went by Johnny
Terror and he had like fucking,he had a rat tail and face
(32:14):
tattoos and he had crust pantsand like a leather jacket with
studs and everything.
And you know, I was like.
You know, I was like this guyis the fucking shit.
You know what I'm saying.
He was so cool and we woulddrink and smoke after work and
stuff like that, and he startedputting me on a folk punk music,
just like people in the in theOhio scene because that's a big
(32:36):
Ohio thing into like uh, blackflag minor threat.
you know, fugazi like startedlike finding like some more,
like some real punk bands, notlike uh, not emo bands but like,
um, yeah, you know bad brains,shit like that.
And um, yeah, he kind of put meonto that and it also made me
(32:58):
realize that, like a lot ofdudes that are punk dudes end up
being like handlebar mustachesalvage denim folk dudes and I
was like oh yeah, there's, acrossover in my two favorite
genres.
And so that's kind of where themorbid mind sound came from.
I was like I can blend thesetwo genres seamlessly.
Yeah, it's funny dude.
People turn from like fuckinglike Coke sniffing, beer
(33:21):
drinking delinquents into likefancy coffee dudes with like
nice leather boots, like in theblink of an eye.
It's such a weird pipeline, ohit's crazy it is.
Speaker 1 (33:33):
It's a very, it's a very weird pipeline but you've
seen it right.
Like you know, it's there ohbro, I've seen it, I've I've.
Speaker 3 (33:40):
Yeah, I've seen it I I can't say I'm like a victim of
it because I haven't gone likeI'm a sober guy now I don't, I
don't use anything and I have,like this insane coffee set up
in my kitchen and I'm like I'm,yeah, becoming one of them yeah,
it's, hey, it's happening, it'shappening right before our eyes
I don't know what to do.
Awesome man, and shout out to uh, to johnny terror dude shout
(34:05):
out to johnny terror he's stillmaking music too he's like, he's
a real one, that's yeah, that's, uh, that's, that's the vibe
right there and uh, you know you, you talked a little bit about
the kitchen.
Speaker 1 (34:16):
I know you're a culinary guy.
Um, you know, we're at thewhole time you're writing music.
Were you working in?
Speaker 3 (34:23):
kitchens as well.
Yeah, I got my first kitchenjob when I was like 15.
Not kidding, I was bussingtables, saw the line cooks,
thought they looked cool andmade it a goal of mine to be on
the line.
And a couple years later I wasa line cook.
And then I was pretty heavyinto drugs and my parents were
(34:45):
trying to get me to pick acareer because music just wasn't
working.
And so I went to culinaryschool, um, and like just kind
of thought about it as like, uh,I didn't think about it as a
backup.
I was like this is what I'mgonna do until music works out.
And luckily music did work out.
But, um, yeah, so I've.
You know, I'm a certified chef.
(35:08):
I don't call myself a chefbecause I haven't worked in a
kitchen in five years and I'dprobably fucking get fried on
the line and just likecompletely blow it up, but um,
yeah, I can't handle thatanymore what about, uh?
Speaker 1 (35:24):
who do you think is bourdain?
Is bourdain the goat?
Who's who's who's the goat?
Speaker 3 (35:28):
yeah, I mean bourdain is the same way.
He was the same way that I wasand I actually learned that
mentality about not calling mychef from myself a chef from him
, because you know he wasworking in kitchens and owning
kitchens and he was a head cheffor a while and then he got
famous after his book came outand he started being like a
traveling food guy with a tvshow and people would call him
(35:49):
chef and he'd be like don't callme that.
Um, yeah, I'm not a chef anymoreand I just like I just loved
that mentality you know what Imean like I loved how matter of
fact and how blunt he was as aperson and I've read his books
and stuff and so I'm, you know,I love the guy I have.
I have kitchen confidential andit's it's highlighted and
(36:10):
notated and all of the food thathe talks about is in there and
I've made every single recipethat's in the book, like even
the one there's not like recipesin the book, but he talks about
dishes and stuff and I'vealways, you know, done my
research and tried to recreatethem.
So I'm a huge fan.
Speaker 1 (36:27):
Yeah, yeah, kitchen confidential is.
Oh man, it's such an incrediblebook and I I uh somewhat
recently, like a year or two ago, uh, I went back and listened
to the audio book and it's, it'shis voice, obviously, and it's
so fucking good man.
Speaker 3 (36:41):
It's really good dude .
He's an incredible writer.
You know it's funny.
Why do you sit on the?
Guy fieri scale the guy fieriscale, kind of similarly to
where I sit on, like the saltbay scale, like it's a little
too showy for my taste.
You know what I mean.
(37:02):
Like yeah, yeah yeah, I'm like,I'm the type of guy in music and
and and in cooking I thinkthese are like these are
supposed to be humble jobs andthey're mistaken for glamorous
jobs, and so I don't really lovewhen people do it very, very
like you know, glitzy and showy.
Speaker 1 (37:23):
I don't love it that much yeah, it's like, uh, it's
like the equivalent of the.
Uh, like the sizzling fajitaslike that you bring out to the
table and it's just like.
You know.
I have a buddy of mine who usedto order.
You say, can I get the fajitasminus the show?
You don't need, you don't needto parade it all over the
(37:46):
restaurant bucket.
You know, do this that, justjust bring it out.
I think there's a?
Speaker 3 (37:51):
yeah, man, there's an idea, but guy fieri is the one
at his restaurant.
He has the trash.
Can nachos?
Have you seen these?
It's like I've heard about thetrash can nacho yeah, and you
like, pull the paint, can thecan up and it's all like almost
inedible because it's so big andso messy.
It's like, dude, give mesomething I can eat.
Speaker 1 (38:14):
You know what I'm saying yeah, yeah, have you
heard about prison nachos, wherethey just, uh, they put like a
bunch of weird shit in a bag andand it's like it's?
I saw, I saw this one guycooking it, it was.
Oh, you're talking about Rick.
Speaker 3 (38:28):
Yeah, yeah, yeah.
Yeah, when they like, put theramen noodles in like a bag with
crushed up flaming hot Cheetosand yeah, yeah.
Yeah, I've heard about that.
Speaker 1 (38:39):
Yeah, what, where?
Where do you sit with SkylineChili?
You're a Cincinnati dude, right.
Speaker 3 (38:42):
I worked at Skyline for like four years, brother,
you did what?
Yeah, dude, I was in thekitchen making the chili, making
the spaghetti, doing the dishesfor a while.
Hell yeah, for like two yearsfull-time and then two years
part-time while I was doingother jobs.
Speaker 1 (38:59):
So is it one of those things where you work there to
a point and you're you can'teven like think about eating it?
Speaker 3 (39:06):
oh no, every single time I go back to cincinnati I I
eat it for breakfast I love it.
Speaker 1 (39:11):
Yeah, dude it.
Yeah, because I've only beenable to have it like twice in my
life and I got.
I got friends in louisville whoare like fuck that they put
cinnamon in their chili andfucking you know whatever uh,
people who say that don't have adeveloped palate, that shit's
delicious oh yeah, it's so good,dude like cinnamon is so much
(39:32):
more than cinnamon toast crunchpeople write it off, but it's
like one of the most powerfulseasonings.
Shout out skyline.
Yeah man, I love me someskyline chili, that's great man.
Speaker 3 (39:41):
I love me some Skyline chili.
Speaker 1 (39:44):
That's great man.
Yeah, you know, I used to workin this pizza shop called
Frantones and I had two jobs.
I was the main dishwasher,which I loved.
It was just like a heavy metalvideo.
I'd just be in the back withthe radio and just washing
dishes forever.
And the other one was I waslike the official, like sauce
(40:06):
boy, like sauce stirrer, andthey had this wooden ore and
they had this huge vat of, justlike you know, marinara sounds a
lot like the chili at skylineit's like the same huge vat but
we had a metal ore and like meand the homies used to get super
fried and sword fright withthem and get in trouble.
(40:31):
Yeah, I got fired from Skylineeventually.
Yeah, yeah, Well you know,those, those types of those
types of jobs are usually justto stop and not a full.
Not a full stay, just to stopalong the way.
For sure.
For sure, let's talk real quickabout, just real quick.
I want to touch on ColumbiaRecords.
Okay, you know you got signedto a major label.
(40:52):
Congratulations, my man.
Thank you.
That's an incredible thing.
You seem, and you know, forgiveme if I'm wrong, but from what
the little I've seen, it seemskind of like as an artist you
kind of just want to be able tofocus on the art.
You know what, what?
What is your kind of take on,you know, the music industry as
(41:16):
a whole right now it seems likea pretty cool time to be a young
artist doing their thing.
Speaker 3 (41:26):
How's your experience been so far as a signed artist
man?
I mean, I want to start bysaying like I'm incredibly
grateful and, you know, I thinkI think right now is a really
great time to be an artist.
I think it's a hard time to bean artist, but I think it's a
great time to be an artist.
I say that because you know, alot of the promotion lies within
(41:47):
you.
It's not the.
The labels don't have as muchpower as they used to as far as
marketing music and gettingpeople listen to it.
So, you know, if you, if you'rewilling to work hard and you're
willing to to go on socialmedia and post a lot and you
know, maybe swing and miss miss,but maybe swing and hit every
once in a while then like, then,this is the perfect time for
(42:09):
you.
I think a lot of people, yeah,have a had this opinion that, um
and I don't I'm not one to sayif it's valid or not, but I'll,
I'll say my thought on it um, Ithink a lot of people have the
opinion that right now there's alot of, there's some good stuff
and there's a lot of bullshitas far as like music coming out,
and you know, to that I saythat's how it's always been.
(42:31):
You just don't hear thebullshit that was coming out of
the 90s.
You know what I mean.
Like there was definitelyreally really bad music that
came out of, you know, oh yeah,out of the late 19th or late
20th century, 19th century, late20th century, 19th century,
late 20th century.
You know what I mean.
It just didn't rise to the topand I think we're going to look
back on, like you know, the2020s, you know, maybe 30 years
(42:54):
from now.
We're going to look back atsome of the records that came
out at this time and we're goingto, you know, we're not going
to see all the bullshit TikTokrecords that came out out.
We're gonna see, like, we'regonna see the really good albums
that got dropped and, um, youknow, I think we'll look back on
it and I'll say, wow, that wasa lot better than I thought it
was, so I'm grateful to be aliveand making music during this
(43:17):
time.
Speaker 1 (43:18):
Um, yeah, I think it's fucking cool that's awesome
, awesome dude, yeah, and wellsaid.
You know, I think it's alwayskind of.
There's always people who youknow like when I was, you know,
going to high school and shitlike that, I was the older
generation talking shit on onyou know the music that was
(43:38):
coming out at that time.
I think everyone's going to becritical and everyone's going to
say their shit.
But it's like there is now andthis is one of the cool things I
love about doing this podcastis, you know, as you know too,
as a musician, it's likesometimes you get so wrapped up
in your own shit you don'tnecessarily have the time to
listen to music, like you oncedid, or you kind of go on back
and forth.
(43:59):
But I tell you what man I'vebeen like.
I've made it a point to be likemore focused on listening to
what's coming out right now, andthere's a lot of fucking great
shit coming out, say, oh my God,hip hop was so much better in
2016, 2014,.
Speaker 3 (44:13):
2015 was the golden era.
Everything coming out right nowis garbage and I'm like you
sound like your grandpa.
Like your grandpa, you knowwhat I'm saying.
(44:35):
Talking like oh, the musicthese days is trash.
You should have heard what theyhad back in my day.
They had Kiss and it's soundlike you sound like an old
person.
Speaker 1 (44:46):
You know what I mean, so you know feel free to have
that opinion.
Speaker 3 (44:50):
You know what I mean.
But, like you know, understandthat that's the exact same
opinion that, like that you know, older people had and like
judged us as kids for, like youknow how fucking weird my dad
thought my chemical romance waswhen I started playing that
music?
Or 21 pilots, you know what I'msaying.
(45:10):
Like yeah he was like what thehell is this?
I took you to van halen whenyou were in third grade and
you're listening to this likewhat.
You know what I'm saying, so youknow if you're gonna say like
the music was way better when Iwas a kid.
Just know what you sound likeand then move with your day yeah
, there you go, nice.
Speaker 1 (45:29):
Uh, all right, man, this is the uh say the jerry
podcast here.
Uh, norman collins, of course,one of the godfathers of
traditional tattooing you.
Uh, you know you're a tattooguy, I know know you tattoo
yourself, yeah.
Speaker 3 (45:44):
Traditional tattooers might not like that, but I do
do it.
Speaker 1 (45:49):
No, I think it's awesome.
Man, what was your first tattoo?
Speaker 3 (45:54):
My first tattoo was like this was my first real
tattoo at a shop like thiscompass, which I don't love
anymore, but I would never getit removed or covered up because
it's like a part of me.
You know what I mean.
Yeah, um, it's like pointing toa star in the north, like it's
the north star.
You know what I mean.
It's something to guide you.
But, like my first actual tat,my very first tattoos, um, me
(46:19):
and my and my wife when we werelike 16, we ordered a tattoo
gone off amazon and we did somebullshit on my thighs so I got
some like random scribbles on mythighs.
That were my first tattoos.
Speaker 1 (46:31):
What do you think about you know the kind of old
school, because you're right,there's like a very kind of you
know angry type of.
Speaker 3 (46:39):
There's an angry gate .
Kept part of the community,yeah.
Speaker 1 (46:43):
Yes, that's like okay , you bought a machine on amazon
, you know whatever, you know.
What do you think about kind ofthat side of things?
Is it just too, you know?
Is it just an old idea?
Is it just?
Speaker 3 (46:55):
boring and I think it's too judgmental, coming from
a community that's made up ofoutcasts that makes sense, my
man I don't know.
I think you see that a lot like,especially in like a lot of
tattoo tattoo shops, um, thatkind of specialize in like and
traditional work, which is great.
(47:16):
You know what I'm saying.
But like there's a, I thinkit's mainly in the american
traditional tattoo community,and I'm sure I'm gonna get a lot
of hate for this, but I'm sureI'm gonna that I'm gonna get a
lot of love for it too.
But I think in the americantraditional tattoo community,
and I'm sure I'm gonna get a lotof hate for this, but I'm sure
I'm gonna that I'm gonna get alot of love for it too but I
think in the americantraditional tattoo community,
which I love.
By the way, a lot of my designsare based off american
traditional stuff.
Um, I think in that communitythere's this mindset that, like
(47:38):
a, american traditional is thebest and like b, if you're not
covered in tattoos, like, uh,you don't know shit.
You know what I'm saying andyou know I'll.
I'll address a first.
Um, there's so many differenttypes of tattoos and they all
come from different cultures andso, like saying american
(47:59):
traditional is like the bestkind of tattoos, or I've heard
people say it's the only kind oftattoo that matters is writing
off, you know, like the ignorantstyle that came out of berlin.
It's writing off tribal tattoosthat came from, you know,
southern america or nativeamerican stuff.
It's writing off traditionaljapanese work.
(48:20):
It's like it's writing off othercultures and I don't think it's
a, I don't think it's a goodthing to say.
And then you know, like thewhole, like you're not.
Like when you walk into atattoo shop as a not tattooed
person trying to get a tattoo,there's like a level of judgment
there and you know who are youto judge.
Like getting tattooed isfucking expensive and it's a big
(48:43):
commitment.
Yeah, like, I think people whoaren't tattooed should be met
with a lot more love and embracewhen they walk into a tattoo
shop.
For, you know, for making aneffort and trying to be a part
of the community.
You know what I mean.
They shouldn't be shunned outfor not knowing much about
what's going on.
They should be, they should be,they should be loved and they
(49:05):
should be taught yeah, man, Iagree, I agree 100 with that.
Speaker 1 (49:11):
Did you, uh, did you finish the deadbeat tattoo on
your, on your feet?
Speaker 3 (49:14):
no, so I'm waiting for the for the other ones to
heal, because I know I'm gonnahave to touch them up when I go
back in.
So I'm just gonna wait for themall to heal and I'll do the the
last three letters and thenI'll, and then I'll like finish
touching, touching up the uh,the first, whatever, however
many, it is five letters, justbecause I want it to look really
good.
And if it's like all scabby andI'm going back in there, I'm
(49:36):
gonna fuck it up royally.
Speaker 1 (49:39):
Yeah, yeah, all right , let's, uh, let's go.
Some questions from theinternet here, let's do it okay,
uh, a couple questions from theinternet.
Jack, will drake ever recoverfrom his battle with kendrick?
Speaker 3 (49:53):
oh, this is a good one, dude.
I honestly drake is a pop star,you know what I mean, and I
think a large portion of his fanbase doesn't know anything
about the rap beef that he hadwith kendrick.
You know what I'm saying.
So, like, in the eyes of likepeople who are like, really hip
hop heads, I don't think Drakewill ever, like, fully get away
from this.
(50:14):
You know what I mean.
Like it's not necessarily fair.
You know what I mean.
The same way that, like MGKnever got to fully get away from
the M and M battle, I thinkthat's.
Speaker 1 (50:24):
I think, that's what's going to happen for Drake
, but there's going to be a veryvery large group of people that
continue to listen and continueto support him, because they
either don't know about whathappened or they just don't care
.
Yeah, I mean, I think you knowobviously Drake's going to be
(50:45):
fine, yeah, but you know, it'scrazy how, you know, I think,
speaking a little bit to whatyou're saying, dude, it got
pretty big, like it got prettyoutside of hip hop.
It got pretty big and theaccusations were pretty crazy.
Speaker 3 (50:59):
I'm a really big hip hop head so I watched all the
breakdowns and all thesubliminals and all the stuff
that's not really on the surfacethat you might miss Like I kind
of dug deep on that.
So some of the stuff that wasmentioned and some of the stuff
that was talked about is prettyirredeemable and you know, in
the eyes of like I don't thinkhe will ever ever recover.
(51:20):
In the eyes of like a joebudden, you know what I'm saying
yeah, yeah yeah, that'll neverleave now.
That's gonna be a stand on hiscareer for the rest of his time.
But then again he fuckingretire right now and still live
very comfortably.
He has more money than all ofus, so I can't say anything.
Speaker 1 (51:39):
He was.
You know, he was kind of he waswinning for like the first
couple weeks of that.
Speaker 3 (51:44):
You know, and this is something me and my wife talk
about- you know, when there wasa rap beef starting with
Kendrick and Drake, I didn'tthink Drake would be able to
even you know participate.
Speaker 1 (51:57):
So the fact that he got deep into the rounds.
Speaker 3 (52:00):
he got deep in and I think a couple of his punches
landed, and so for even that,yes, that's fucking impressive
and I'll and I give it to him.
You know what I'm saying.
Speaker 1 (52:11):
Absolutely, absolutely.
Let's see here, uh, what hasbeen the most challenging part
of gaining popularity for you ohman, social media can be so so,
so hard on your brain.
Speaker 3 (52:28):
You know what I'm saying.
Yes, even the good parts.
You know what I'm saying.
Like even when good parts youknow what I'm saying.
Like even when a video blows upand does really well and it and
it's and it correlates tostreaming, it's hard dude, and
like having that many people beable to comment on you and have
opinions on you can be reallyreally weird and really
difficult, and you know it canget really existential really
(52:51):
fast.
Um, and you know the way thealgorithm is now is is
interesting.
Like some videos do really well, some videos do really poorly.
It's just like the way that itgoes.
Um, so, trying to not look atit as like, oh, this did really
well and this did really poorly.
Um, I, I try to not look at itlike that.
I try to see it as like onething you know what I'm saying.
(53:14):
Like these are my videos, thisand I'm just trying to reach
people in whatever capacity Ican.
Um, so kind of adopting thatmindset has been really
difficult, but when it works, itworks really well.
Speaker 1 (53:30):
Yeah, yeah, awesome man, and all right, we got a
good one here.
Jack, list these Ohio citiesbest to worst, okay.
Okay, we got Dayton, columbus,cincinnati, akron and Cleveland,
okay.
Speaker 3 (53:48):
I'm going to say Cincinnati at top.
Of course I'm going to sayCincinnati.
At top, of course I'm going tosay Dayton, number two.
And that's going to becontroversial because Dayton has
a really fucking cool punkscene and I went to a lot of
really cool house shows inDayton.
I'm going to say Columbus,number three, because Columbus
(54:11):
is where Raising Cane's started.
A lot of people don't know that, but when I was in high school
school there was only oneraising canes in all the us and
it was in columbus, and we wouldroad trip up every weekend oh
yeah, that's a deep cut.
Everybody thinks that's justsome big chain, but it's not,
that's an ohio bred thing.
um, I don't really know muchabout akron, so I'm going to say
Cleveland at number four.
(54:32):
Mgk is going to hate me forthis, but I just think Cleveland
is a it's not a good place.
You know Cleveland kind oflooks like you almost said.
Speaker 1 (54:44):
You almost said sucks .
I almost no.
Speaker 2 (54:46):
I almost said it's a shithole, but I decided to be
nice.
Speaker 3 (54:50):
You know I just like nice.
You know I just like you knowI've been to cleveland a few
times.
I think it looks like ascooby-doo ghost town.
You know, like I like where,like the fucking bad guy in
scooby-doo has just likecompletely ruined the entire
city and everybody's in theirhouse and nobody wants to come
out.
That's like what cleveland islike.
Um, maybe I'm just bending thewrong parts.
Like downtown cleveland is abad place.
(55:11):
Um, I'm gonna put akron at fivebecause I don't know much about
it.
Um, I'm pretty sure it's like asteel milling town or some shit
like that I don't know, yeah,yeah, I don't really know much
about akron either.
Speaker 1 (55:24):
We've had a couple days off in cleveland over the
years and it's always just kindof like and you know I do want
to clarify.
Speaker 3 (55:32):
It's not like cincinnati has that much going
for it either.
You know what I'm saying.
Like I I the only reason I thinknumber one is because I'm from
there and I have a lot ofmemories and I love everything,
like I love the city, I love thepeople, I love the restaurants,
like there's a special place inmy heart for it.
But I'm sure if I was fromcleveland I would have the same
(55:53):
feeling about Cleveland and Iwould be able to talk shit all
day about Cincinnati.
But it's a little bit of arivalry, nice, nice.
Speaker 1 (56:03):
Okay, a couple pick-ems here to kind of get
close to wrapping this up.
Thank you for your time.
We're going to name some bandshere.
Just tell me which one you likebetter.
A couple food things in here aswell.
Okay, let's go with Ramones orSex Pistols Sex Pistols.
Bad Brains or Bad Religion, badBrains, descendants or Green
(56:28):
Day Green Day.
Speaker 3 (56:31):
Black Flag or the Misfits Black Flag, Black Flag
for sure.
Speaker 1 (56:36):
Yeah, street art or fine art, street art, tacos or
sushi Sushi Nice dude.
Yeah, I saw you posted someshit about what you ate on the
record release day.
It looks so good.
Dude, dude, I love sushi, Ilove it.
(56:56):
So what's your interesting?
Speaker 3 (56:58):
it's one of the only culinary professions that people
study specifically yeah, yeah,what's your do you have?
Speaker 1 (57:06):
if you were to put together, let's say you know,
let's, let's say you you'reputting together like a romantic
evening for you and your ladyand you're gonna cook what's
like your, what would be yoursignature dish?
Speaker 3 (57:17):
and I'm gonna cook yeah oh man, I'll tell you right
now it's not gonna be fancy umdoesn't have to be yeah, I'm
gonna, I'm gonna pull up thegrill and I'm gonna make, and
(57:39):
I'm gonna make hamburgers, butlike, yeah, not a shitty
hamburger, like the besthamburger you'll ever have.
That's what I'm gonna do.
Speaker 1 (57:48):
What makes it the best hamburger you'll ever have.
What is it?
The bun?
Oh is it.
We're talking about brioche.
Speaker 3 (57:54):
I'm talking about martin's potato roll is the only
bun.
That's the only acceptable bun.
That's the only acceptable bun.
Get that brioche shit out of myface.
You know what I'm saying?
Definitely get that wonderbread bun out of my face.
That is garbage you know, yeah,wonder bread.
Speaker 1 (58:12):
You know what's crazy about wonder bread buns?
Like, if you like, we were at acampfire, like every year I go
do this thing with my buddiesand you can put those like in a
flame, like in a fire, and thenlike won't burn yeah, dude,
those buns are like, they'regarbage, and you know.
Speaker 3 (58:29):
And no disrespect to brioche I love the bread, but I
think you kind of shit onbrioche a little bit.
Speaker 1 (58:35):
You, I did shit on brioche a little bit, but listen
, listen, listen, I don't likefancy hamburgers.
Speaker 3 (58:41):
You know I think every fan like that's like the
fancy hamburger bread.
I don't like that.
I don't like big thick pattieswith a bunch of toppings, like I
like mustard onion americancheese with a smash patty on a
Martin's potato roll.
Yeah, that's the burger.
That matters, right, yeah.
Like.
I like that Anything else cankind of, can, kind of get going.
Speaker 1 (59:05):
I like that, all right.
Uh, last two questions here.
Jack, uh, let's do a kind of abill, and ted's uh, you know,
time machine, hypothetical righthere, okay, okay, after the
interview's done, you go outside, time machine comes down, rufus
, bill and ted, they're all inthere say hey, jack, come on in
anywhere in history you want togo.
(59:27):
Where are you going to go firstand why?
Speaker 3 (59:31):
anywhere in history you want to go.
I'm going to the nirvana,unplugged live oh, that's a good
one yeah, I'm gonna be in thatcrowd.
That's where I'm gonna be.
I don't need to even explainwhy.
You know what I'm saying.
No, you don't that's awesomeyeah, that's a good one, man
(59:52):
there all right.
Speaker 1 (59:54):
Last question here uh , it's a little bit of a doozy,
but I'm sure you got this.
Uh, what to you, jack case, isthe meaning of life?
Speaker 3 (01:00:07):
oh, the meaning of life is to form meaningful
relationships.
Without meaningfulrelationships, everything else
will be worthless.
Speaker 1 (01:00:22):
Absolutely my man, you know, Jack, thank you so
much for your time.
It's been an honor getting totalk to you about music, my man.
Dude, thank you so much,congrats appreciate congrats on
the uh on the record deadbeatdisc one is out now.
Uh, everyone go listen to thatshit.
Oh, you know, are you?
Are you pressing vinyl at anytime?
(01:00:43):
Have you ever done that whendisc?
Speaker 3 (01:00:45):
two comes out, we'll press some vinyl okay because we
got a lot of questions aboutthat yeah, yeah, yeah, yeah.
Speaker 1 (01:00:52):
And if you have you ever thought about doing like
pressing like singles, likeseven inches of all those
singles you got, I haven't butum you know like you should do a
collection dude like I have allthese cds right here and I'm
basically gonna burn.
Speaker 3 (01:01:08):
I'm gonna burn disc one and two onto the CDs and I'm
going to give all these awaybefore disc two comes out.
So some people are going to getan extra special.
Look, that's sick.
Speaker 1 (01:01:25):
If people are really fiending for physical stuff,
this is how I'm going to do itfor a little bit.
Nice, awesome man, awesome.
Well, yeah, everyone go checkout Jack live.
Support the art, support theartists.
And man awesome talking to you,really appreciate your time.
Thanks again, nice to meet youAwesome.
All right, cool, I'm going toturn this off and then we'll
(01:01:46):
make sure everything's good togo.
All right cool.
yo yo yo check one, check two.
Jack k's, yeah, yeah, yeah,yeah, yo hey hey, hey, yeah,
(00:46):
yeah, yeah, yeah Yo hey, hey,hey, yeah, yeah, yeah, yeah, yo
hey, hey hey, check one, checktwo, check one, check two.
Yo yo, yo, yo yo, what up, man,how are you?
(01:14):
I'm good, how are you, I'm good, I'm good.
Can you hear me all right?
Speaker 3 (01:21):
yeah, I'm getting a little bit of delay, but I don't
think it's gonna matter in thelong run okay, cool, cool.
Speaker 1 (01:29):
Yeah, I can hear you.
All right, I'm good.
Speaker 3 (01:31):
I'm good on this end, I think, as long as you're good
yeah, like I just see yourmouth moving and then your voice
like starts afterwards.
Speaker 1 (01:39):
But if that's okay, then that's okay yeah, I mean it
should record fine on your endand my end as well.
So as long as it doesn't fuckyour vibe up, uh, you know we
should be all good.
All right, cool, yeah, itdoesn't.
It doesn't mess with me, solet's do it.
Awesome man, all right, jackk's here today on the sailor
(01:59):
jerry podcast.
Uh, very stoked to have you onthe podcast, my man.
Uh, I'm new to kind of the jackhayes phenomenon.
So, as a, as a musician, as anartist, uh, it's always a really
cool thing when you discoversomeone new, uh, who you enjoy
and who's doing some cool shit.
Speaker 3 (02:19):
So, uh, thanks for being on the podcast today dude,
thanks for having me and thanksfor the kind words.
I appreciate it.
Speaker 1 (02:26):
Yeah, man, deadbeat disc one Okay, officially out,
released into the world.
You know there's always a lotof emotions that come along with
releasing an album into thewild.
There's a lot of work that goesinto it, obviously A lot of
stress leading up to it.
How's, how's the vibe for youright now?
(02:49):
How's it feel to have a recordout?
How's everything going?
Speaker 3 (02:53):
um, I'm feeling pretty good.
It's like, uh, it's the longestpiece of work I've dropped in a
long time.
Uh, and I think I'm not reallyquite quite there yet with the
relief because we have a disctwo and a disc three and disc
two is wrapping up and discthree is like still like very
much in the works.
So I feel like disc one droppedand the work finally started.
(03:18):
That's where I'm at.
Speaker 1 (03:21):
Nice, nice.
And you know, the record isincredible, man, man, it's
awesome.
So congrats on that great work.
Um, you know some things thatI've kind of taken in from going
through your discography andkind of, you know, newly being
introduced into your world isthat you seem pretty
self-sufficient as an artist andas a songwriter.
Um, get into a little bit ofyour backstory in a bit here,
(03:46):
but when it comes to writing analbum, creating an album, did
you have a producer on thisalbum?
Did you produce it yourself?
How did all the songs cometogether?
Speaker 3 (03:54):
Okay, so, I write all the songs sitting where I am
right now this is my home studioand then, you know, depending
on the song, sometimes I feellike I have the ability to
produce it myself.
So there's a couple songs likethrow away, get a job, deadbeat,
were recorded here in my studio, like in the chair that I'm
(04:17):
sitting on.
And then, you know, sometimes Iwrite a song and I think I
think this is a little bit outof my realm.
I think I need somebody who's alittle more experienced to go
in and record on this.
So, um, yeah, you know that'swhere another producer comes in,
like, uh, matt squire is aproducer that I worked with a
lot on this record.
(04:38):
Uh, no, love for the middlechild is also on this record.
And then um, drew falk, wizardblood, who does like a lot of
stuff in the metal scene uh,he's on this record.
And then um, drew falk, wizardblood, who does like a lot of
stuff in the metal scene uh,he's on this record as well.
So, you know, depending on thesong, depending on how I'm
feeling, I just like decide,kind of where to take it to.
Uh, but all the writing happenshere in my room that's awesome
(05:00):
man.
Speaker 1 (05:00):
Yeah, it seems like, uh, like a song by song kind of
basis is the way to go, and Ithink that's a cool approach too
, because it's like you have,you know, you have the album as
a whole but, um, you know,nowadays especially, you know,
there's such an importance onsingles so some songs sound
great with just the guitar andvocals and, like you're saying,
you know when the song needs alittle bit something more, you
(05:22):
know.
Yeah, so that's awesome man.
Speaker 3 (05:24):
I mean it's not necessarily that I know it's
like the choice.
You know what I mean.
Speaker 1 (05:28):
Yeah, you know what I'm saying.
Speaker 3 (05:29):
Because, like a lot of times, the production of a
record just comes down to achoice, like, do you want it to
sound more stripped back or doyou want to produce it out?
So that's kind of what thatcomes down to, I think comes
down to.
Speaker 1 (05:47):
I think, yeah, man Dope, and you know you mentioned
, you know, disc two and discthree down the line, which I
know a lot of people are curiousabout.
Kind of just looking down theline a little bit on that, Is it
going to be like like a body ofwork completely, or are they
going to be completely differentvibes, or where are you
thinking about going next fortwo and 3?
Speaker 3 (06:05):
Yeah, I mean, ultimately they'll all live
under deadbeat.
You know what I mean.
So I don't know if you've everseen an album on Spotify or
Apple Music that has disc breakson it.
You know what I mean.
Like one of the one of theweird like references that I
(06:27):
have is like this ray schremeralbum where like one half is um
is sway lee, and one in theother half is what's the other
guy's name?
Like slim jimmy or some shitlike that?
Um, yeah I forget.
Yeah, it's like they're twohalves of the album.
You know what I mean.
And that's a disc, one disc,two album.
Um, so that's how it'll be alllike at the at the end of it all
.
You know what I all.
However long down the road thatis hopefully not too long.
Speaker 1 (06:51):
That's how it's going to look but you seem like, uh,
kind of a prolific writer aswell.
Are you someone who you know isconstantly writing, constantly
(07:11):
like in the studio every day, ormaybe not every day, but just a
very active like creative flow,or do you kind of go in spurts?
Speaker 3 (07:18):
um, you know, the past couple of months, I think,
production like when I'mproducing stuff like disc two, I
have a lot of, I have a lot ofproduction on like um I think,
like half the songs are producedby me on disc two or something
like that.
So on that, you know front I'min the studio every single day
kind of tweaking stuff andadding things here and, like you
(07:40):
know, my drummer will send methings and my little brother
plays bass on all the tracks andhe'll send me stuff and I'll
you know, see how it fits Likeoh, add a harmony here.
You know like just kind offucking with production and
stuff.
Sorry, can I?
Speaker 2 (07:52):
curse on here Is that okay.
Oh yeah, okay, let it fly.
Speaker 3 (07:56):
Yeah, just kind of messing with stuff and like and
you know, working out kinks andtrying to see if I can add
anything to the record.
That's different.
But as far as writing goes, Iwould say, like you know, in a
good period where I'm likereally feeling it, like I'm
really feeling good, I'mprobably writing like two songs
every couple of months, like Idon't.
(08:16):
I don't write that often andnormally when I write something,
it's I don't.
I'm not like the kind of guythat, like, takes a hundred
shots and only you know puts oneof them out, like basically
every song that I write ends upcoming out yeah, okay, cool,
cool, that's dope, yeah, that's.
Speaker 1 (08:34):
That's good to know, because it's like it's.
You know, sometimes it's eitherone or the other.
I feel like there's becausesome of your stuff, honestly, it
feels like so, uh, you know,cathartic and like, uh, just
like, lyrically speaking too, alot of it just feels like just
something you just have to likespit out so you never know, as
as a fan, like how that's comingout, if it's, if it's like, you
(08:57):
know, a labor process where ittakes a while to get it just
right, um, or if it's justsomething like you're saying,
like you're just you know, okay,boom, that one's out of my
system.
On to the next one.
Speaker 3 (09:07):
Yeah, I mean I will say like I've been writing songs
for 10 plus years now, um, andit took me like six years to get
one good song you know what I'msaying, and so that early six
years was writing a lot of songs.
You know what I mean.
It was like getting in thestudio every single night and
trying to write something likeno matter what, because I was
just trying to like figure outwho I was.
(09:28):
But now that I'm kind of thereand I like kind of know who I am
and what I want to sound likeas an artist, like um man, it's
like it's pretty infrequentlythat I write a song and it's
actually that's kind of scary,because sometimes I write a song
and I'm like I don't know whenthe next one is going to happen.
If it's gonna happen like it'sthis weird like every time I
(09:51):
write a song I feel like it's mylast, but that's never been the
case.
Speaker 1 (09:56):
Yeah, yeah, that's a trip and I know you know, as you
progress and you put out morealbums and more songs, songs and
kind of.
You know, life happens, you,you know you move this way, you
move that way, it's always kindof, uh, it is scary to think,
like you know, like fuck, likeyou know, I know I'm not out of
music, but what if I am?
(10:16):
You know like what, where's thenext?
So where's the next song gonnacome from?
Speaker 3 (10:21):
uh, what's it gonna sound like, or what?
Speaker 1 (10:22):
chord progression.
Speaker 2 (10:23):
Is it gonna sound like, is it?
I get all existential about it.
Speaker 1 (10:26):
You know what I mean yeah, awesome man, on, uh, on.
You know mixed emotions, thatep, uh, you know you kind of
dabbled in a lot of the hip-hopproduction that I know you know
you're very comfortable withdisc two, disc three.
We're gonna see a little bit ofthat come back into the mix.
Speaker 3 (10:47):
Honestly, no man like um, that first six years that
I'm, that I was telling youabout.
Speaker 1 (10:52):
I was like that's it that I was only making hip-hop
music.
Speaker 3 (10:55):
You know what I mean.
And those are like that.
Those four songs or whateverthat kind of like lean in that
direction, are the only like inmy opinion, like those are the
only passable records that cameout of that period of my life.
Um, and I've always been thetype, like I don't want to, like
lie to people and like act likeI'm not something or like act
(11:16):
like I'm something that I'm notlike.
I want people to be able tolook at my discography and see
the progression and see where Icame from and see what I used to
talk about, what I used tosound like, versus what I talk
about, what I sound like now.
Um, so the purpose of mixedemotions was to kind of show
like you know, how did I getfrom from track one to morbid
(11:36):
mind, which was at the end ofthe project yeah, man, that's.
Speaker 1 (11:42):
That's really cool and I dig that.
Um, you know, the evolutionthat you've kind of gone through
as a songwriter is always anexciting process as an artist
and as a fan to like listen toand like dive into.
So it's cool that you aren'thiding that.
You know what I mean it's like,hey, this is, this is where I
was at, this is where I'm.
(12:02):
I'm at now.
It seems like I want to rapabout songwriting real quick,
because you have a lot ofauthenticity in your songwriting
, a lot of emotion and a lot ofmelody, and those are the things
that, obviously some of themajor components to me as to
(12:23):
what makes a great song.
When you're kind of sittingdown to write a song, or when
you hear a song that you love,what is it?
What makes a good song to you?
Speaker 3 (12:34):
Oh man, to me this is going to be a weird take.
Okay, to me, the most importantpart of songwriting is
phonetics.
Do you know what I mean?
How do the words sound next?
To each other.
Sometimes I hear a song andsomebody is saying something
(12:58):
that means a lot and it hitshard, but the phonetics are too
clunky and it just doesn't comeacross good.
You know what I mean.
So, like when I'm writing asong, like if the phonetics
aren't coming, like the song'snot going to happen.
Speaker 1 (13:18):
Yeah, so phrasing is a big deal to you, because I
mean you can tell, not phrasingthough, like the way that the
words sound coming out of yourmouth.
You know what I mean got you,got, you, got, you got, you know
like, is it easy?
Is it easy to say them is?
Speaker 3 (13:32):
it something that you want to say over and over again
, like I don't want tonguetwisters and I don't want
syllables that like happen in myin the front of my mouth to be
right next to syllables thathappen in the back of my mouth.
I don't know if that makes thisis like a weird this, like
that's really fucking scientific.
You know what I'm saying, like,but that's like something I
(13:54):
think about when I saw thatstems from?
Speaker 1 (13:58):
yeah, do you think that stems from like, like
hip-hop style phrasing andphonetics, or like poetry, or
like how, like, how, causethat's not really necessarily
like?
Uh, I mean, it is, you know, amusic thing.
It is, it can be a rock androll thing, it can be a punk
rock thing.
But when I hear you, I do hearexactly what you're talking
(14:19):
about, you know, I hear, I hearthe focus and the attention to
detail on that.
Where, where did you kind ofpick that up?
Where does that come from?
Speaker 3 (14:28):
I think it's something that comes from like a
hip hop background.
You know what I mean.
Like I learned how to writesongs by rapping and when you're
like, when you're going fastand you're rapping, like you
don't there's not enough room tolike to stumble over clunky
syllables and stuff like that.
And it's not somethingnecessarily that I do
(14:48):
purposefully Like.
It's not like I go into a linebeing like all right, this has
to sound phonetically good.
But you know, if I write a lineand it's not quite good, the
first thing that I look at isn'tyou know, the actual like the
meaning of the line.
I always look at like what canI change phonetically about this
?
Speaker 1 (15:10):
damn dude, that's rad .
I like that.
That's not something that, uh,that you hear a lot, um, you
know, usually it's like you knowsome, you know chord
progression or you know, uh, youknow melody or lyrics or
something like that, and allthose things are important to
you, obviously.
But I like how detailed andspecific your answer is on that
(15:32):
question yeah, I mean likelyrics.
Speaker 3 (15:35):
The meaning of the lyrics is important.
You know what I mean.
But, like, when I go into asong, I'm not always thinking
about what it's about.
You know what I'm saying?
Like, yeah, the, the substanceis already there.
Like, as long as I talk aboutmy experience, you know, I know
that I'll end up writingsomething that resonates and is
important to me, like I never be.
(15:57):
I'm never like, oh, I want towrite a song about space and
then, like, the song comes outshit, because I'm talking about
something that doesn't matter tome or that I don't know about
I'm only ever writing about myexperience.
Speaker 1 (16:08):
I do think I'm only ever writing about, like my
personal experience.
Speaker 3 (16:14):
So, like you know, it's never like um, never been a
thing where I'm like oh man,like I like this song, I like
everything about it, but whatI'm talking about isn't, isn't
good, like I've never felt thatway yeah, do you ever?
Speaker 1 (16:30):
uh, you know, personally speaking from my
experience as a songwriter, I'mvery much as a lyricist, in the
same vein as you, where it'smostly 99.99% about personal
experience, because I feel likeI have to have some sort of
attachment to the lyrics and tothe song itself, um, to for me
(16:53):
as an artist, and also I feellike that translates when people
hear it, that they know you'reconnected to it as well for sure
do you ever worry?
do you ever worry about like um,you know like, only like, only
being that type of artist youknow what I mean like, do you
ever worry about that?
You might be relying too muchon um.
You know having to to writeabout your own experiences and
(17:15):
sometimes artists can go downtricky roads with that, because
it can be crazy.
Sometimes it can be hard tofeel satisfied.
Sometimes, if you're writing asong or writing a record,
sometimes it feels like you'realways kind of reopening
yourself up, so it can be kindof an exhausting process.
(17:36):
How is that for you?
Speaker 3 (17:42):
Yeah, I mean I'll talk about like a song off disc
two to try to answer thisquestion and forgive me if I'm
not answering the questioncorrectly and feel free to
correct me on the question.
So there's a song on my there'sa song on disc two about one of
my friends that passed away froman overdose, right and for, and
it's been you know six or sevenyears since he passed away.
(18:05):
I think it was six and I thinkit'll be seven in september.
Um and uh, and I've like wentand tried to write a song about
him like probably 20 times youknow what I mean and it just
wasn't happening.
And every single time I wouldlike reopen that can of worms
and like be fucked up for therest of the day, like just like
(18:26):
super sad and like don't talk tome.
You know what I'm saying, whatI'm saying.
So, yeah, I definitely feel likethere is like there is a line
to toe where, like, you want towrite about something, you want
it to be fresh, you want it tosound angry and bitter or sad
and remorseful or whatever thosefeelings are.
(18:46):
Um, but I think, like trying towrite about something when it's
not fully processed yet andwhen, like, you don't fully
understand the feelings, justisn't going to work out and
you're going to end up puttingyourself in more pain than if
you would have just not writtenat all.
You know what I'm saying.
But, on the other hand, if youlike, fully grieve those
(19:07):
feelings, if you feel thefeeling and you're done and
you've like processed that in ahealthy way or whatever, and
then you go and write the song.
That's like when somethingcathartic happens.
Does that answer the question?
Speaker 1 (19:21):
Yeah, yeah, absolutely.
And I know like I went throughkind of the same thing trying to
write a song about my dad whenhe passed.
It's like it's one of thosethings where you want to express
it so bad.
But like you're saying, the timehas to be right, all the things
have to kind of align for thatsong to come together, that
(19:42):
moment to come together in a waythat's real, because I think
you want to.
You know, you know it's insidesomewhere, at some point it's
going to come out, uh, and, andyou just, uh, you just want it
to happen, but you can't reallyforce the process.
Speaker 3 (19:55):
Yeah, but especially with grief, dude, that's such a
complex feeling, you know yeahthere's so many stages and
there's so much death to thatemotion.
Like I'm somebody that handlesdeath in a really weird way,
like I've never cried out ofdeath, you know, friends, family
, dogs like I just I just don'tcry for, so it doesn't hit me
right away for some reason.
(20:16):
It's like something that takesyears and years to settle in and
it takes like life eventswithout that person for me to
like fully understand the weightof the loss.
You know what I'm saying, soyeah, for sure or like in the in
the context of my friend, likeI didn't fully understand the
(20:37):
weight of the loss until I untilI like became really close
friends with his brother, liketwo or three years ago, and like
we started talking every dayand then I was like holy shit,
you know what I'm saying likethe weight of it really started
to set in um and the idea thatthat person like that we both
have memories with, like youknow, he's not here anymore.
(20:57):
It's, it's a, really it's a.
It's a very, very deep feeling.
So to write about somethinglike that you can't just like
that's not a raw emotion towrite about and my like, in my
experience, the way that I writesongs, it's not something that
I can write about when it'sfresh.
Speaker 1 (21:20):
Yeah, man, absolutely , experience the way that I
write songs.
It's not something that I canwrite about when it's fresh.
Yeah, man, absolutely.
Um, that's awesome.
Thanks for sharing that.
That's really cool.
Um, insight too, just about,like you know, the creative
process and about being able to,you know, kind of transform
something as complicated asgrief and loss into, you know, a
song that I, you know, I'mstoked to, to be able to hear
and check out one of these days.
Man, excited to hear that, ofcourse, I'm excited to have it
(21:41):
out.
Yeah, sick are you.
I know you got some showscoming up here.
You got riot fest coming up.
Uh, which is going to be sick.
Shout out, riot fest, awesomefestival.
Are you going to be sick?
Shout out, riot Fest, awesomefestival.
Are you going to be doing likekind of heavy touring on this
record?
Where are you at with touring?
Are you like a guy who lovesbeing on the road?
Do you like being more in thestudio at home?
(22:03):
Where are you at with that?
Speaker 3 (22:05):
I'm a homebody, but I love doing shows, so it's weird
.
Speaker 1 (22:11):
You know like I don't love being on the road.
Speaker 3 (22:13):
You know what I'm saying.
But when I'm home, I do want tobe doing shows.
So there's a little bit of atrade-off there.
We're doing these shows in thefall, just because I thought it
was kind of cool to surroundRiot Fest and we had this other
festival planned but thefestival canceled so we ended up
having to pull that off.
But, um, so we were just like,oh, let's do some like shows in
(22:36):
some of these you know seamarkets that we hadn't really
been to yet.
Um, but yeah, when?
Um, I'll, I'm I don't know howmuch I can say I'm doing a lot
of touring, but I just haven'tannounced, okay, I haven't good,
good good, all right.
Speaker 1 (22:52):
Good, I like that.
I'm doing a lot of touring, butI just haven't announced.
Okay, I haven't.
Good, good, good, all right.
Good, I like that.
Speaker 3 (22:56):
I'm definitely gonna be on tour a lot and, like you
know um, I'm gonna cross themotions and and do all that good
stuff oh hell yeah have you?
Speaker 1 (23:05):
have you crossed?
Have you crossed oceans before?
Speaker 3 (23:07):
I've never been to like, not for a show.
Speaker 1 (23:09):
I've crossed oceans for personal reasons, but never
to make birds play music oh,hell yeah, dude, that's exciting
congrats man yeah, we got a lotof questions on the internet
about people wondering if you'recoming to uh, uk, australia,
all those places so it's good toknow that uh hell yeah, awesome
(23:32):
, man, awesome, and are you?
Are you when you're playing, uh, when you're headlining, are
you doing full band?
Speaker 3 (23:37):
yeah.
So, um, we're doing a full band.
My little brother plays thebass and then, um, my buddy
will's playing.
Uh, you know he's gonna beplaying guitar as well as me
playing guitar.
I always play guitar on stage.
And then my good friend Brandonis a sound guy out here and
(23:58):
he's in a couple bands.
Everybody that's in my band isalso in, like other bands, but
my good friend Brandon, he willalso be on the road and he'll be
playing drums.
So, full band set up four piece.
Speaker 1 (24:09):
Hell, yeah, awesome.
And you know, to give ourlisteners a little bit of
background on you, um, you know,I know you've been playing
music for a long time, uh, multi, multi-instrumentalist, um kind
of you know taking us way backa little bit.
Um, how did kind of it all getstarted for you know, was there
any sort of, uh, you know,musical influence in the
(24:33):
household or anything like that?
Like, how did you kind of firstget turned on to music?
Speaker 3 (24:36):
yeah, my dad plays, uh, plays the bass and guitar.
Okay, you know he dabbles inthe drums too, like he's just
kind of he's.
He's like really fucking goodat the bass, like a really
really good bass player, one ofthe best that I know.
Um, he's like a prog rock guy,if that gives you any insight to
how good of a bass player he is.
Speaker 1 (24:57):
And, um, does he play it?
Does he play up here?
Does he play?
No, he holds it down low but,like his face, like he has like
a.
Speaker 3 (25:04):
He has like a rush band that like plays a bunch of
yeah, so he's like supertechnical perfect all of his
friends play, play instruments.
My uncle, uh, is like a, is aguitar professor and owns a
music school and uh teaches kidsguitar and he's an incredible
guitarist, you know, went toschool and studied classical
guitar and, um, you know, so Igrew up around that they're both
(25:25):
in they're both in differentbands my whole life and, um, we
had instruments laying aroundthe house and so, like, I
started uh banging the drum kitwhen I was three years old.
Speaker 1 (25:38):
Oh dude, that's sick.
Speaker 3 (25:40):
And I think I wasn't good at much, I wasn't an
athlete at all, I wasn't good inschool, and so as I got older,
I think my parents just kind ofkept encouraging me to to play
music, and my dad would have meat his gigs and help me set up
the show, and so I understood,um, you know, inputs and outputs
(26:02):
and monitors and like thetechnical side of music and yeah
, what microphones are good forwhat and like so on.
And then you know he would haveme on stage and, um, it started
off as me just playing guitarin his band sometimes and then
me getting on the microphone ordrumming or singing and playing
(26:22):
guitar, you know, playing duringtheir their set breaks or
whatever it was.
So, um, I think like havingaccess to something like that,
learning how to sing into amicrophone on stage really early
on, is like something that I'mreally grateful for because I
think it set me up for what I'mdoing now.
Speaker 1 (26:42):
Yeah, absolutely man.
And at what point did you knowkind of the desire to you know,
write your own music come along.
Speaker 3 (26:51):
You know, dude, dude, I wanted to write my own songs
forever and it just wasn'thappening you know, I'm saying
like I wanted to so bad.
Like you know, I remember my dogdied when I was like in fifth
grade and like I tried to writesongs about that and they were
just garbage and like likefucking unspeakably garbage.
(27:12):
You know what I'm saying.
So bad is like disrespectful tomy dead dog.
How bad those songs were and uh, you know.
So I wanted to write my ownsongs from like a really young
age and I love performing and,um, I don't know, it just didn't
come to me like until until Iwas like until I was.
(27:34):
I remember I was like 17 orsomething and I was making beats
on my laptop and I spilledwater on my laptop and my laptop
broke and then me and mybuddies like got pulled over
with a bunch of weed and we gotin a fuck ton of trouble.
They put my buddy in handcuffsand like it's like scared the
shit out of me and this girlthat I liked didn't like me back
(27:56):
and, uh, my best friend fuckingwent to like like was like gone
all summer and I was just likehad the worst summer, um, and I
just like hated my life and then, um, I like that was when I
wrote my first song.
I think it was called likeLocked Up or something like that
(28:16):
, because I just like spent mywhole summer in my bedroom
making beats you know what I'msaying and I wrote it on a
ukulele because it was like theonly my laptop wasn't working
because I spilled water on itand I didn't have money to fix
it.
So I was just like strumming aukulele and that was my first
song Pretty garbage, but it wasfix it.
So I was just like strumming aukulele and that was my first
song pretty garbage, but it wasthe first time that I wrote
something that was passable.
(28:37):
Yeah, that had to feel fuckinggreat, man, I thought I was.
Speaker 1 (28:42):
I thought I was in I was like wait till they hear
this shit that's awesome, man,and you know, I know, uh, you
know, I know you're a punkrocker as well.
How did you kind of discoverpunk?
How did that come into the mix?
Um, and just you know, aroundthat same time too, around you
(29:04):
know, the the worst summer ever,and you just kind of kicking
off as a songwriter.
What were some bands or someartists around that time that
were kind of, you know, havingan impact on you?
Speaker 3 (29:15):
yeah, I mean.
So, like you know, my dad uhtook me to concerts when I was
young.
Um, like when I was in thirdgrade, he took me to a van halen
concert.
So I was exposed to rock musicreally, really young you know
what I'm saying and I had kindof an open mind when it came to
music.
And then, you know, like I'mtrying to think like the musical
(29:41):
path I got, like in seventh andeighth grade I started teaching
myself guitar and I got reallyinto folk music, like you know,
fleet Foxes and the Head and theHeart stuff like that, bob
Dylan too, like just kind ofanything that was acoustic, that
I could learn to play on theguitar I was, I was messing
(30:03):
around with.
Then, you know, high school camealong and everybody at my high
school was listening to hip hop,and so to kind of fit in with
the popular kids, I startedlistening to hip hop.
I liked how aggressive it wasand I liked how how it was like
kind of made in protest.
I thought that was really cooland I thought that spoke to me.
(30:25):
And then, um, you know, Istarted dealing with some mental
health issues and I was inmarching band at the time and
the marching band at my schoolwas interesting because you know
the, the group that I hungaround with was like super into
a day to remember and motionlessand white and attila, um yeah
you know kind of like superheavy stuff.
(30:46):
So I went from like listening tofolk music to listening to like
heavy metal um you know, justbecause like that was what the
older kids were listening to,and I was like I gotta, I gotta
think this shit's hard.
You know what I mean?
I gotta be, I gotta fit in.
So I started listening to allthat type of stuff um got really
heavy like cannibal corpse andlike bands like that like
(31:06):
started started breaching myinner matrix.
and then, yeah, yeah, but like I, I liked the music, I thought
it was cool, I thought it waslike I think, like heavy metal
is like modern day classicalmusic, like those instruments
are like the the musicians areso skilled, oh for sure.
But I was looking for somethingto like, to like emote to, and
(31:28):
so I found, I found this band,21 Pilots.
And then I found my Chemical.
Romance.
You know I started findingbands like Pierce the Veil and
then you know, I was like thisis kind of where it's at, like
emo music was like my fuckingthing.
(31:49):
I don't think I really foundpunk music like real punk music.
I don't think I really foundand understood it until I was
like 21.
Um, and I was working at thiskitchen and there was this dude
there named Johnny his name wasJohnny and he went by Johnny
Terror and he had like fucking,he had a rat tail and face
(32:14):
tattoos and he had crust pantsand like a leather jacket with
studs and everything.
And you know, I was like.
You know, I was like this guyis the fucking shit.
You know what I'm saying.
He was so cool and we woulddrink and smoke after work and
stuff like that, and he startedputting me on a folk punk music,
just like people in the in theOhio scene because that's a big
(32:36):
Ohio thing into like uh, blackflag minor threat.
you know, fugazi like startedlike finding like some more,
like some real punk bands, notlike uh, not emo bands but like,
um, yeah, you know bad brains,shit like that.
And um, yeah, he kind of put meonto that and it also made me
(32:58):
realize that, like a lot ofdudes that are punk dudes end up
being like handlebar mustachesalvage denim folk dudes and I
was like oh yeah, there's, acrossover in my two favorite
genres.
And so that's kind of where themorbid mind sound came from.
I was like I can blend thesetwo genres seamlessly.
Yeah, it's funny dude.
People turn from like fuckinglike Coke sniffing, beer
(33:21):
drinking delinquents into likefancy coffee dudes with like
nice leather boots, like in theblink of an eye.
It's such a weird pipeline, ohit's crazy it is.
Speaker 1 (33:33):
It's a very, it's a very weird pipeline but you've
seen it right.
Like you know, it's there ohbro, I've seen it, I've I've.
Speaker 3 (33:40):
Yeah, I've seen it I I can't say I'm like a victim of
it because I haven't gone likeI'm a sober guy now I don't, I
don't use anything and I have,like this insane coffee set up
in my kitchen and I'm like I'm,yeah, becoming one of them yeah,
it's, hey, it's happening, it'shappening right before our eyes
I don't know what to do.
Awesome man, and shout out to uh, to johnny terror dude shout
(34:05):
out to johnny terror he's stillmaking music too he's like, he's
a real one, that's yeah, that's, uh, that's, that's the vibe
right there and uh, you know you, you talked a little bit about
the kitchen.
Speaker 1 (34:16):
I know you're a culinary guy.
Um, you know, we're at thewhole time you're writing music.
Were you working in?
Speaker 3 (34:23):
kitchens as well.
Yeah, I got my first kitchenjob when I was like 15.
Not kidding, I was bussingtables, saw the line cooks,
thought they looked cool andmade it a goal of mine to be on
the line.
And a couple years later I wasa line cook.
And then I was pretty heavyinto drugs and my parents were
(34:45):
trying to get me to pick acareer because music just wasn't
working.
And so I went to culinaryschool, um, and like just kind
of thought about it as like, uh,I didn't think about it as a
backup.
I was like this is what I'mgonna do until music works out.
And luckily music did work out.
But, um, yeah, so I've.
You know, I'm a certified chef.
(35:08):
I don't call myself a chefbecause I haven't worked in a
kitchen in five years and I'dprobably fucking get fried on
the line and just likecompletely blow it up, but um,
yeah, I can't handle thatanymore what about, uh?
Speaker 1 (35:24):
who do you think is bourdain?
Is bourdain the goat?
Who's who's who's the goat?
Speaker 3 (35:28):
yeah, I mean bourdain is the same way.
He was the same way that I wasand I actually learned that
mentality about not calling mychef from myself a chef from him
, because you know he wasworking in kitchens and owning
kitchens and he was a head cheffor a while and then he got
famous after his book came outand he started being like a
traveling food guy with a tvshow and people would call him
(35:49):
chef and he'd be like don't callme that.
Um, yeah, I'm not a chef anymoreand I just like I just loved
that mentality you know what Imean like I loved how matter of
fact and how blunt he was as aperson and I've read his books
and stuff and so I'm, you know,I love the guy I have.
I have kitchen confidential andit's it's highlighted and
(36:10):
notated and all of the food thathe talks about is in there and
I've made every single recipethat's in the book, like even
the one there's not like recipesin the book, but he talks about
dishes and stuff and I'vealways, you know, done my
research and tried to recreatethem.
So I'm a huge fan.
Speaker 1 (36:27):
Yeah, yeah, kitchen confidential is.
Oh man, it's such an incrediblebook and I I uh somewhat
recently, like a year or two ago, uh, I went back and listened
to the audio book and it's, it'shis voice, obviously, and it's
so fucking good man.
Speaker 3 (36:41):
It's really good dude .
He's an incredible writer.
You know it's funny.
Why do you sit on the?
Guy fieri scale the guy fieriscale, kind of similarly to
where I sit on, like the saltbay scale, like it's a little
too showy for my taste.
You know what I mean.
(37:02):
Like yeah, yeah yeah, I'm like,I'm the type of guy in music and
and and in cooking I thinkthese are like these are
supposed to be humble jobs andthey're mistaken for glamorous
jobs, and so I don't really lovewhen people do it very, very
like you know, glitzy and showy.
Speaker 1 (37:23):
I don't love it that much yeah, it's like, uh, it's
like the equivalent of the.
Uh, like the sizzling fajitaslike that you bring out to the
table and it's just like.
You know.
I have a buddy of mine who usedto order.
You say, can I get the fajitasminus the show?
You don't need, you don't needto parade it all over the
(37:46):
restaurant bucket.
You know, do this that, justjust bring it out.
I think there's a?
Speaker 3 (37:51):
yeah, man, there's an idea, but guy fieri is the one
at his restaurant.
He has the trash.
Can nachos?
Have you seen these?
It's like I've heard about thetrash can nacho yeah, and you
like, pull the paint, can thecan up and it's all like almost
inedible because it's so big andso messy.
It's like, dude, give mesomething I can eat.
Speaker 1 (38:14):
You know what I'm saying yeah, yeah, have you
heard about prison nachos, wherethey just, uh, they put like a
bunch of weird shit in a bag andand it's like it's?
I saw, I saw this one guycooking it, it was.
Oh, you're talking about Rick.
Speaker 3 (38:28):
Yeah, yeah, yeah.
Yeah, when they like, put theramen noodles in like a bag with
crushed up flaming hot Cheetosand yeah, yeah.
Yeah, I've heard about that.
Speaker 1 (38:39):
Yeah, what, where?
Where do you sit with SkylineChili?
You're a Cincinnati dude, right.
Speaker 3 (38:42):
I worked at Skyline for like four years, brother,
you did what?
Yeah, dude, I was in thekitchen making the chili, making
the spaghetti, doing the dishesfor a while.
Hell yeah, for like two yearsfull-time and then two years
part-time while I was doingother jobs.
Speaker 1 (38:59):
So is it one of those things where you work there to
a point and you're you can'teven like think about eating it?
Speaker 3 (39:06):
oh no, every single time I go back to cincinnati I I
eat it for breakfast I love it.
Speaker 1 (39:11):
Yeah, dude it.
Yeah, because I've only beenable to have it like twice in my
life and I got.
I got friends in louisville whoare like fuck that they put
cinnamon in their chili andfucking you know whatever uh,
people who say that don't have adeveloped palate, that shit's
delicious oh yeah, it's so good,dude like cinnamon is so much
(39:32):
more than cinnamon toast crunchpeople write it off, but it's
like one of the most powerfulseasonings.
Shout out skyline.
Yeah man, I love me someskyline chili, that's great man.
Speaker 3 (39:41):
I love me some Skyline chili.
Speaker 1 (39:44):
That's great man.
Yeah, you know, I used to workin this pizza shop called
Frantones and I had two jobs.
I was the main dishwasher,which I loved.
It was just like a heavy metalvideo.
I'd just be in the back withthe radio and just washing
dishes forever.
And the other one was I waslike the official, like sauce
(40:06):
boy, like sauce stirrer, andthey had this wooden ore and
they had this huge vat of, justlike you know, marinara sounds a
lot like the chili at skylineit's like the same huge vat but
we had a metal ore and like meand the homies used to get super
fried and sword fright withthem and get in trouble.
(40:31):
Yeah, I got fired from Skylineeventually.
Yeah, yeah, Well you know,those, those types of those
types of jobs are usually justto stop and not a full.
Not a full stay, just to stopalong the way.
For sure.
For sure, let's talk real quickabout, just real quick.
I want to touch on ColumbiaRecords.
Okay, you know you got signedto a major label.
(40:52):
Congratulations, my man.
Thank you.
That's an incredible thing.
You seem, and you know, forgiveme if I'm wrong, but from what
the little I've seen, it seemskind of like as an artist you
kind of just want to be able tofocus on the art.
You know what, what?
What is your kind of take on,you know, the music industry as
(41:16):
a whole right now it seems likea pretty cool time to be a young
artist doing their thing.
Speaker 3 (41:26):
How's your experience been so far as a signed artist
man?
I mean, I want to start bysaying like I'm incredibly
grateful and, you know, I thinkI think right now is a really
great time to be an artist.
I think it's a hard time to bean artist, but I think it's a
great time to be an artist.
I say that because you know, alot of the promotion lies within
(41:47):
you.
It's not the.
The labels don't have as muchpower as they used to as far as
marketing music and gettingpeople listen to it.
So, you know, if you, if you'rewilling to work hard and you're
willing to to go on socialmedia and post a lot and you
know, maybe swing and miss miss,but maybe swing and hit every
once in a while then like, then,this is the perfect time for
(42:09):
you.
I think a lot of people, yeah,have a had this opinion that, um
and I don't I'm not one to sayif it's valid or not, but I'll,
I'll say my thought on it um, Ithink a lot of people have the
opinion that right now there's alot of, there's some good stuff
and there's a lot of bullshitas far as like music coming out,
and you know, to that I saythat's how it's always been.
(42:31):
You just don't hear thebullshit that was coming out of
the 90s.
You know what I mean.
Like there was definitelyreally really bad music that
came out of, you know, oh yeah,out of the late 19th or late
20th century, 19th century, late20th century, 19th century,
late 20th century.
You know what I mean.
It just didn't rise to the topand I think we're going to look
back on, like you know, the2020s, you know, maybe 30 years
(42:54):
from now.
We're going to look back atsome of the records that came
out at this time and we're goingto, you know, we're not going
to see all the bullshit TikTokrecords that came out out.
We're gonna see, like, we'regonna see the really good albums
that got dropped and, um, youknow, I think we'll look back on
it and I'll say, wow, that wasa lot better than I thought it
was, so I'm grateful to be aliveand making music during this
(43:17):
time.
Speaker 1 (43:18):
Um, yeah, I think it's fucking cool that's awesome
, awesome dude, yeah, and wellsaid.
You know, I think it's alwayskind of.
There's always people who youknow like when I was, you know,
going to high school and shitlike that, I was the older
generation talking shit on onyou know the music that was
(43:38):
coming out at that time.
I think everyone's going to becritical and everyone's going to
say their shit.
But it's like there is now andthis is one of the cool things I
love about doing this podcastis, you know, as you know too,
as a musician, it's likesometimes you get so wrapped up
in your own shit you don'tnecessarily have the time to
listen to music, like you oncedid, or you kind of go on back
and forth.
(43:59):
But I tell you what man I'vebeen like.
I've made it a point to be likemore focused on listening to
what's coming out right now, andthere's a lot of fucking great
shit coming out, say, oh my God,hip hop was so much better in
2016, 2014,.
Speaker 3 (44:13):
2015 was the golden era.
Everything coming out right nowis garbage and I'm like you
sound like your grandpa.
Like your grandpa, you knowwhat I'm saying.
(44:35):
Talking like oh, the musicthese days is trash.
You should have heard what theyhad back in my day.
They had Kiss and it's soundlike you sound like an old
person.
Speaker 1 (44:46):
You know what I mean, so you know feel free to have
that opinion.
Speaker 3 (44:50):
You know what I mean.
But, like you know, understandthat that's the exact same
opinion that, like that you know, older people had and like
judged us as kids for, like youknow how fucking weird my dad
thought my chemical romance waswhen I started playing that
music?
Or 21 pilots, you know what I'msaying.
(45:10):
Like yeah he was like what thehell is this?
I took you to van halen whenyou were in third grade and
you're listening to this likewhat.
You know what I'm saying, so youknow if you're gonna say like
the music was way better when Iwas a kid.
Just know what you sound likeand then move with your day yeah
, there you go, nice.
Speaker 1 (45:29):
Uh, all right, man, this is the uh say the jerry
podcast here.
Uh, norman collins, of course,one of the godfathers of
traditional tattooing you.
Uh, you know you're a tattooguy, I know know you tattoo
yourself, yeah.
Speaker 3 (45:44):
Traditional tattooers might not like that, but I do
do it.
Speaker 1 (45:49):
No, I think it's awesome.
Man, what was your first tattoo?
Speaker 3 (45:54):
My first tattoo was like this was my first real
tattoo at a shop like thiscompass, which I don't love
anymore, but I would never getit removed or covered up because
it's like a part of me.
You know what I mean.
Yeah, um, it's like pointing toa star in the north, like it's
the north star.
You know what I mean.
It's something to guide you.
But, like my first actual tat,my very first tattoos, um, me
(46:19):
and my and my wife when we werelike 16, we ordered a tattoo
gone off amazon and we did somebullshit on my thighs so I got
some like random scribbles on mythighs.
That were my first tattoos.
Speaker 1 (46:31):
What do you think about you know the kind of old
school, because you're right,there's like a very kind of you
know angry type of.
Speaker 3 (46:39):
There's an angry gate .
Kept part of the community,yeah.
Speaker 1 (46:43):
Yes, that's like okay , you bought a machine on amazon
, you know whatever, you know.
What do you think about kind ofthat side of things?
Is it just too, you know?
Is it just an old idea?
Is it just?
Speaker 3 (46:55):
boring and I think it's too judgmental, coming from
a community that's made up ofoutcasts that makes sense, my
man I don't know.
I think you see that a lot like,especially in like a lot of
tattoo tattoo shops, um, thatkind of specialize in like and
traditional work, which is great.
(47:16):
You know what I'm saying.
But like there's a, I thinkit's mainly in the american
traditional tattoo community,and I'm sure I'm gonna get a lot
of hate for this, but I'm sureI'm gonna that I'm gonna get a
lot of love for it too.
But I think in the americantraditional tattoo community,
and I'm sure I'm gonna get a lotof hate for this, but I'm sure
I'm gonna that I'm gonna get alot of love for it too but I
think in the americantraditional tattoo community,
which I love.
By the way, a lot of my designsare based off american
traditional stuff.
Um, I think in that communitythere's this mindset that, like
(47:38):
a, american traditional is thebest and like b, if you're not
covered in tattoos, like, uh,you don't know shit.
You know what I'm saying andyou know I'll.
I'll address a first.
Um, there's so many differenttypes of tattoos and they all
come from different cultures andso, like saying american
(47:59):
traditional is like the bestkind of tattoos, or I've heard
people say it's the only kind oftattoo that matters is writing
off, you know, like the ignorantstyle that came out of berlin.
It's writing off tribal tattoosthat came from, you know,
southern america or nativeamerican stuff.
It's writing off traditionaljapanese work.
(48:20):
It's like it's writing off othercultures and I don't think it's
a, I don't think it's a goodthing to say.
And then you know, like thewhole, like you're not.
Like when you walk into atattoo shop as a not tattooed
person trying to get a tattoo,there's like a level of judgment
there and you know who are youto judge.
Like getting tattooed isfucking expensive and it's a big
(48:43):
commitment.
Yeah, like, I think people whoaren't tattooed should be met
with a lot more love and embracewhen they walk into a tattoo
shop.
For, you know, for making aneffort and trying to be a part
of the community.
You know what I mean.
They shouldn't be shunned outfor not knowing much about
what's going on.
They should be, they should be,they should be loved and they
(49:05):
should be taught yeah, man, Iagree, I agree 100 with that.
Speaker 1 (49:11):
Did you, uh, did you finish the deadbeat tattoo on
your, on your feet?
Speaker 3 (49:14):
no, so I'm waiting for the for the other ones to
heal, because I know I'm gonnahave to touch them up when I go
back in.
So I'm just gonna wait for themall to heal and I'll do the the
last three letters and thenI'll, and then I'll like finish
touching, touching up the uh,the first, whatever, however
many, it is five letters, justbecause I want it to look really
good.
And if it's like all scabby andI'm going back in there, I'm
(49:36):
gonna fuck it up royally.
Speaker 1 (49:39):
Yeah, yeah, all right , let's, uh, let's go.
Some questions from theinternet here, let's do it okay,
uh, a couple questions from theinternet.
Jack, will drake ever recoverfrom his battle with kendrick?
Speaker 3 (49:53):
oh, this is a good one, dude.
I honestly drake is a pop star,you know what I mean, and I
think a large portion of his fanbase doesn't know anything
about the rap beef that he hadwith kendrick.
You know what I'm saying.
So, like, in the eyes of likepeople who are like, really hip
hop heads, I don't think Drakewill ever, like, fully get away
from this.
(50:14):
You know what I mean.
Like it's not necessarily fair.
You know what I mean.
The same way that, like MGKnever got to fully get away from
the M and M battle, I thinkthat's.
Speaker 1 (50:24):
I think, that's what's going to happen for Drake
, but there's going to be a veryvery large group of people that
continue to listen and continueto support him, because they
either don't know about whathappened or they just don't care
.
Yeah, I mean, I think you knowobviously Drake's going to be
(50:45):
fine, yeah, but you know, it'scrazy how, you know, I think,
speaking a little bit to whatyou're saying, dude, it got
pretty big, like it got prettyoutside of hip hop.
It got pretty big and theaccusations were pretty crazy.
Speaker 3 (50:59):
I'm a really big hip hop head so I watched all the
breakdowns and all thesubliminals and all the stuff
that's not really on the surfacethat you might miss Like I kind
of dug deep on that.
So some of the stuff that wasmentioned and some of the stuff
that was talked about is prettyirredeemable and you know, in
the eyes of like I don't thinkhe will ever ever recover.
(51:20):
In the eyes of like a joebudden, you know what I'm saying
yeah, yeah yeah, that'll neverleave now.
That's gonna be a stand on hiscareer for the rest of his time.
But then again he fuckingretire right now and still live
very comfortably.
He has more money than all ofus, so I can't say anything.
Speaker 1 (51:39):
He was.
You know, he was kind of he waswinning for like the first
couple weeks of that.
Speaker 3 (51:44):
You know, and this is something me and my wife talk
about- you know, when there wasa rap beef starting with
Kendrick and Drake, I didn'tthink Drake would be able to
even you know participate.
Speaker 1 (51:57):
So the fact that he got deep into the rounds.
Speaker 3 (52:00):
he got deep in and I think a couple of his punches
landed, and so for even that,yes, that's fucking impressive
and I'll and I give it to him.
You know what I'm saying.
Speaker 1 (52:11):
Absolutely, absolutely.
Let's see here, uh, what hasbeen the most challenging part
of gaining popularity for you ohman, social media can be so so,
so hard on your brain.
Speaker 3 (52:28):
You know what I'm saying.
Yes, even the good parts.
You know what I'm saying.
Like even when good parts youknow what I'm saying.
Like even when a video blows upand does really well and it and
it's and it correlates tostreaming, it's hard dude, and
like having that many people beable to comment on you and have
opinions on you can be reallyreally weird and really
difficult, and you know it canget really existential really
(52:51):
fast.
Um, and you know the way thealgorithm is now is is
interesting.
Like some videos do really well, some videos do really poorly.
It's just like the way that itgoes.
Um, so, trying to not look atit as like, oh, this did really
well and this did really poorly.
Um, I, I try to not look at itlike that.
I try to see it as like onething you know what I'm saying.
(53:14):
Like these are my videos, thisand I'm just trying to reach
people in whatever capacity Ican.
Um, so kind of adopting thatmindset has been really
difficult, but when it works, itworks really well.
Speaker 1 (53:30):
Yeah, yeah, awesome man, and all right, we got a
good one here.
Jack, list these Ohio citiesbest to worst, okay.
Okay, we got Dayton, columbus,cincinnati, akron and Cleveland,
okay.
Speaker 3 (53:48):
I'm going to say Cincinnati at top.
Of course I'm going to sayCincinnati.
At top, of course I'm going tosay Dayton, number two.
And that's going to becontroversial because Dayton has
a really fucking cool punkscene and I went to a lot of
really cool house shows inDayton.
I'm going to say Columbus,number three, because Columbus
(54:11):
is where Raising Cane's started.
A lot of people don't know that, but when I was in high school
school there was only oneraising canes in all the us and
it was in columbus, and we wouldroad trip up every weekend oh
yeah, that's a deep cut.
Everybody thinks that's justsome big chain, but it's not,
that's an ohio bred thing.
um, I don't really know muchabout akron, so I'm going to say
Cleveland at number four.
(54:32):
Mgk is going to hate me forthis, but I just think Cleveland
is a it's not a good place.
You know Cleveland kind oflooks like you almost said.
Speaker 1 (54:44):
You almost said sucks .
I almost no.
Speaker 2 (54:46):
I almost said it's a shithole, but I decided to be
nice.
Speaker 3 (54:50):
You know I just like nice.
You know I just like you knowI've been to cleveland a few
times.
I think it looks like ascooby-doo ghost town.
You know, like I like where,like the fucking bad guy in
scooby-doo has just likecompletely ruined the entire
city and everybody's in theirhouse and nobody wants to come
out.
That's like what cleveland islike.
Um, maybe I'm just bending thewrong parts.
Like downtown cleveland is abad place.
(55:11):
Um, I'm gonna put akron at fivebecause I don't know much about
it.
Um, I'm pretty sure it's like asteel milling town or some shit
like that I don't know, yeah,yeah, I don't really know much
about akron either.
Speaker 1 (55:24):
We've had a couple days off in cleveland over the
years and it's always just kindof like and you know I do want
to clarify.
Speaker 3 (55:32):
It's not like cincinnati has that much going
for it either.
You know what I'm saying.
Like I I the only reason I thinknumber one is because I'm from
there and I have a lot ofmemories and I love everything,
like I love the city, I love thepeople, I love the restaurants,
like there's a special place inmy heart for it.
But I'm sure if I was fromcleveland I would have the same
(55:53):
feeling about Cleveland and Iwould be able to talk shit all
day about Cincinnati.
But it's a little bit of arivalry, nice, nice.
Speaker 1 (56:03):
Okay, a couple pick-ems here to kind of get
close to wrapping this up.
Thank you for your time.
We're going to name some bandshere.
Just tell me which one you likebetter.
A couple food things in here aswell.
Okay, let's go with Ramones orSex Pistols Sex Pistols.
Bad Brains or Bad Religion, badBrains, descendants or Green
(56:28):
Day Green Day.
Speaker 3 (56:31):
Black Flag or the Misfits Black Flag, Black Flag
for sure.
Speaker 1 (56:36):
Yeah, street art or fine art, street art, tacos or
sushi Sushi Nice dude.
Yeah, I saw you posted someshit about what you ate on the
record release day.
It looks so good.
Dude, dude, I love sushi, Ilove it.
(56:56):
So what's your interesting?
Speaker 3 (56:58):
it's one of the only culinary professions that people
study specifically yeah, yeah,what's your do you have?
Speaker 1 (57:06):
if you were to put together, let's say you know,
let's, let's say you you'reputting together like a romantic
evening for you and your ladyand you're gonna cook what's
like your, what would be yoursignature dish?
Speaker 3 (57:17):
and I'm gonna cook yeah oh man, I'll tell you right
now it's not gonna be fancy umdoesn't have to be yeah, I'm
gonna, I'm gonna pull up thegrill and I'm gonna make, and
(57:39):
I'm gonna make hamburgers, butlike, yeah, not a shitty
hamburger, like the besthamburger you'll ever have.
That's what I'm gonna do.
Speaker 1 (57:48):
What makes it the best hamburger you'll ever have.
What is it?
The bun?
Oh is it.
We're talking about brioche.
Speaker 3 (57:54):
I'm talking about martin's potato roll is the only
bun.
That's the only acceptable bun.
That's the only acceptable bun.
Get that brioche shit out of myface.
You know what I'm saying?
Definitely get that wonderbread bun out of my face.
That is garbage you know, yeah,wonder bread.
Speaker 1 (58:12):
You know what's crazy about wonder bread buns?
Like, if you like, we were at acampfire, like every year I go
do this thing with my buddiesand you can put those like in a
flame, like in a fire, and thenlike won't burn yeah, dude,
those buns are like, they'regarbage, and you know.
Speaker 3 (58:29):
And no disrespect to brioche I love the bread, but I
think you kind of shit onbrioche a little bit.
Speaker 1 (58:35):
You, I did shit on brioche a little bit, but listen
, listen, listen, I don't likefancy hamburgers.
Speaker 3 (58:41):
You know I think every fan like that's like the
fancy hamburger bread.
I don't like that.
I don't like big thick pattieswith a bunch of toppings, like I
like mustard onion americancheese with a smash patty on a
Martin's potato roll.
Yeah, that's the burger.
That matters, right, yeah.
Like.
I like that Anything else cankind of, can, kind of get going.
Speaker 1 (59:05):
I like that, all right.
Uh, last two questions here.
Jack, uh, let's do a kind of abill, and ted's uh, you know,
time machine, hypothetical righthere, okay, okay, after the
interview's done, you go outside, time machine comes down, rufus
, bill and ted, they're all inthere say hey, jack, come on in
anywhere in history you want togo.
(59:27):
Where are you going to go firstand why?
Speaker 3 (59:31):
anywhere in history you want to go.
I'm going to the nirvana,unplugged live oh, that's a good
one yeah, I'm gonna be in thatcrowd.
That's where I'm gonna be.
I don't need to even explainwhy.
You know what I'm saying.
No, you don't that's awesomeyeah, that's a good one, man
(59:52):
there all right.
Speaker 1 (59:54):
Last question here uh , it's a little bit of a doozy,
but I'm sure you got this.
Uh, what to you, jack case, isthe meaning of life?
Speaker 3 (01:00:07):
oh, the meaning of life is to form meaningful
relationships.
Without meaningfulrelationships, everything else
will be worthless.
Speaker 1 (01:00:22):
Absolutely my man, you know, Jack, thank you so
much for your time.
It's been an honor getting totalk to you about music, my man.
Dude, thank you so much,congrats appreciate congrats on
the uh on the record deadbeatdisc one is out now.
Uh, everyone go listen to thatshit.
Oh, you know, are you?
Are you pressing vinyl at anytime?
(01:00:43):
Have you ever done that whendisc?
Speaker 3 (01:00:45):
two comes out, we'll press some vinyl okay because we
got a lot of questions aboutthat yeah, yeah, yeah, yeah.
Speaker 1 (01:00:52):
And if you have you ever thought about doing like
pressing like singles, likeseven inches of all those
singles you got, I haven't butum you know like you should do a
collection dude like I have allthese cds right here and I'm
basically gonna burn.
Speaker 3 (01:01:08):
I'm gonna burn disc one and two onto the CDs and I'm
going to give all these awaybefore disc two comes out.
So some people are going to getan extra special.
Look, that's sick.
Speaker 1 (01:01:25):
If people are really fiending for physical stuff,
this is how I'm going to do itfor a little bit.
Nice, awesome man, awesome.
Well, yeah, everyone go checkout Jack live.
Support the art, support theartists.
And man awesome talking to you,really appreciate your time.
Thanks again, nice to meet youAwesome.
All right, cool, I'm going toturn this off and then we'll
(01:01:46):
make sure everything's good togo.
All right cool.
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