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October 13, 2025 64 mins
Welcome back to the studio.  This is My Day of Play, where you’re taken into the real events and actions of how it happens long before the process of editing or cleaning up.  The original purpose of these episodes was to give my broadcasting students something to edit, to practice with and to call their own.  Then I realized that you are just as important.  Share the reality of how it really went.  We begin things with Director/Producer Aaron L Williams and actor Glenn Plummer from the movie The Peanut Man. Then we’ll wrap things up with singer songwriter Mike Mostert one of the most gifted masters of the guitar on the planet today.  His band is In Theory. This is My Day of Play.  Completely unedited in the way of meeting the wizard behind the curtain.  

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Transcript

Episode Transcript

Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hey guys, it's Arrow. Please don't forget about Arrow dot
Net A R. R Oe dot Net. I believe in
the power of choice and it starts with what you're
listening to. Aro dot Net features seventeen of my podcast
It is not the same show on these episodes Aroe
dot Net. Hey, welcome back to my studio. This is
my day of play, where you're taking into the really

(00:22):
vance inactions of how it really goes down before the
process of editing or cleaning up. The original purpose of
these episodes was to give my broadcasting students something to edit,
to practice with, and to call their own. And then
I realized, wait a second, you're just as important as
they are. Share the reality of how it really goes down.

(00:42):
We begin things with director producer Aaron L. Williams and
actor Glenn Plummer from the movie The Peanut Man. And
then we're going to wrap things up with singer songwriter
Mike Mostert, one of the most gifted masters on the
guitar today. His band is in Theory. This is my
day of play, completely unedited in the way of meeting
the wizard behind a curtain. You want me to record

(01:04):
for you and oh no, I'm sitting. I'm recording it
even even as we speak, sir. Okay, great, absolutely, but
thank you. Yeah, absolutely.

Speaker 2 (01:17):
So we got Aaron's gonna be here, the director, producer,
and you're gonna get Glenn Palmer, who played George Washington Carver.

Speaker 1 (01:24):
I love it, I love it, I love it.

Speaker 3 (01:26):
The episode can be very and then then I'll let
you do what you do.

Speaker 1 (01:31):
I don't know what I do. I just do it.

Speaker 3 (01:38):
Do you have do you have a week? Or are
you gonna get to relax a little for the holiday?

Speaker 1 (01:41):
This this one would compared to what I've been on lately.
I mean it's this one right here is pretty light.
But then man, it hits me next week and it's
it's like, Okay, I'm gonna I'm gonna be very grateful
and you get some I'm.

Speaker 3 (01:52):
Enjoying some fam some some Uh. I'm not a big
Turkey guy. More about the sides. But Thanksgiving good time
to just take a deep breath.

Speaker 1 (02:02):
Right absolutely, absolutely, yeah, Yeah, we always need guy because
I always call this the quadruple Crown of of the
you know, the quadruple Jewel of the Crown, because we
have Thanksgiving right into Christmas, right into New year's and
then the Super Bowl, so we're just constantly. You know,
we're locked in now until the end of February.

Speaker 3 (02:21):
And my Birtha's another Aaron, Yeah, that's going.

Speaker 2 (02:31):
Just waiting on Glenn and then we can get the
ball rolling. He did acknowledge be an email that he
got the invite, so I'm sure cool.

Speaker 4 (02:50):
It's seven time zone.

Speaker 1 (02:52):
Oh my goodness, Oh my goodness, you.

Speaker 3 (02:55):
Got your coffee right to help you.

Speaker 2 (02:58):
I think this one we can all stay off camera
because it's the radio once. Absolutely, that's the thang for
little Favors right on the cemetery.

Speaker 5 (03:05):
A yeah, that's the first thing he's like, is this
one camera? I said his zoom, But I think you
can keep the camera offen, Yeah, I.

Speaker 3 (03:11):
Think we're good, right Arrow.

Speaker 1 (03:13):
Absolutely, it's Steter the mind. You know, let's let them
listen because the listener isn't gonna be able to see us,
so I want them to experience the questions and and
you know, just and the answers and things.

Speaker 2 (03:23):
We'll simplify. I always say I have a face for radio,
so it works. So I'm sure you've never heard that
one before, right right, all right? And Aaron, when we
were going back and forth, and email eron got to

(03:45):
watch the entire movie and he was raving about it,
so I'm sure he'll get it.

Speaker 3 (03:52):
Versus problem.

Speaker 4 (04:00):
Kh Hey we wait't no, you're Glen.

Speaker 6 (04:08):
Were all on the call.

Speaker 4 (04:13):
Yeah again, that's on this timesage.

Speaker 6 (04:21):
Email it all right?

Speaker 4 (04:28):
Let me email it to you right quick, kay, tell
me your email it quick? I see it right here, I.

Speaker 6 (04:38):
See it all right.

Speaker 4 (04:50):
Let me know if you got that, all right, Glen,
I send it to your email shoving your email now.

Speaker 7 (05:00):
Oh that's cool, all right, okay, I think I will.

Speaker 3 (05:22):
It's both good and bad. Right Well, like you said,
did remind him?

Speaker 6 (05:32):
All right?

Speaker 4 (05:33):
Awesome?

Speaker 7 (05:33):
See you something.

Speaker 6 (05:37):
All right? Yeah, I can see.

Speaker 4 (05:38):
Something right said, he's hopping on right now.

Speaker 3 (05:47):
Great, thank you, no problem.

Speaker 5 (05:50):
If you heard what I heard in the background was
the whole movie in itself. Allom woke him up and
then he started talking to himself and his girls like
you're having a bad dream. And he went right back
to sleep. You've been call him back a second time,
so now he's.

Speaker 4 (06:06):
A lured now.

Speaker 3 (06:09):
That initial first wake up and we're like, no, I
don't want to get up that kind of thing.

Speaker 8 (06:14):
I know I do.

Speaker 5 (06:16):
It's like what just happened. But he said he's coming
in right now for his iPads. We should see hi
any more. Sorry about that guy.

Speaker 3 (06:34):
I know, once Arrow gets going, he's like a freight train.
I'm how excited to get so I'm looking forward to it.

Speaker 5 (06:40):
Well, I actually plug at my microphone. It sounds sounded
a little bit better hopefully.

Speaker 1 (06:46):
Oh yeah, I was gonna say, you've got the voice.

Speaker 4 (06:48):
Whoa, that's my early morning voice.

Speaker 1 (06:53):
That's usually when I run around. I run around the
house and going k rock fifty five songs in a
row without talk. You just kind of.

Speaker 4 (07:08):
Maybe I should have kept him on the phone until
he got on.

Speaker 3 (07:14):
He's on somebody else's zoom, just talking to like a rig.

Speaker 8 (07:19):
There he is, he's coming.

Speaker 3 (07:21):
There we go, seems connecting to the audio. It seems.

Speaker 9 (07:32):
Hi, Glen, we got you.

Speaker 3 (07:35):
Yeah, beautiful, How are you today?

Speaker 8 (07:37):
I'm sorry, wait a minute, hold on, yeah, m are
you trying to do the camera?

Speaker 6 (07:55):
Yeah?

Speaker 8 (07:56):
You could?

Speaker 3 (07:56):
You could stay off camera for this one. This is
a radio one. Okay, Well you can stay on to
whatever you want.

Speaker 8 (08:04):
I was just trying to uh, okay, there is video.
Oh and there's everybody else. Hi, everybody go ahead, Hey, man,
nice to meet you. How's everybody doing?

Speaker 6 (08:26):
Yeah good? Yeah, I know.

Speaker 3 (08:32):
Right right after this, he grabbed that cup of coffee and.

Speaker 9 (08:37):
It's yeah, straight straight to Starbucks.

Speaker 10 (08:42):
Yes, well, then I want to introduce you to Arrow
Ballance and he's he has a show and I heard
he actually did some coverage when we were doing The
Greenwood Rising, which was Fossom's first original, and I'm going
to give the floor to him so he could chat
with you.

Speaker 3 (08:59):
He saw the movie, he loved it, and I know
he wants to pick both of your brain. So I'm
going to shut up and let you guys chat, So
I'll be in the back taking notes and stuff. So
Arrow of the Floor is yours?

Speaker 6 (09:10):
Excellent?

Speaker 1 (09:10):
Good morning you guys. How are you doing good? I'm
doing absolutely fantastic, And He's right. I'm very excited to
share a conversation with you because this movie is an experience.
And the reason why it became an instant experience with
me is because I came from the generation where George
Washington Carver's picture was up in the classroom. We learned
about George Washington Carver, but we didn't get to hear

(09:31):
his voice. We didn't get to hear his real story
and this, this movie put me in that moment of
being in that classroom to where I could feel where
he was coming from.

Speaker 6 (09:41):
Wow, thank you man.

Speaker 4 (09:44):
Yeah, that's really bad.

Speaker 1 (09:47):
And you make it so authentic because I mean, you
really look like George Washington Carver. I'm away. I was like,
I looked at my wife and said, oh my god.
And because you know, sometimes you know, you'll have actors
come in. But how did you get into that full
essence of George? Well, I.

Speaker 11 (10:06):
Think basically it was just trying to tell the truth
in the moments that were written on the page, you know,
and I saw a video of him, and you know,
there were things that I wanted to incorporate that we uh,
I guess we weren't incorporating.

Speaker 8 (10:26):
And you know, it just it just kind of played
itself out in that way.

Speaker 12 (10:31):
The character development things like that for me is basically,
you know, like everything I see on the page, it's.

Speaker 8 (10:40):
It's it's the truth of books written.

Speaker 12 (10:42):
Kind of knowing why your character is saying what he's saying. Uh,
and you know, things of that essence I don't.

Speaker 9 (10:52):
I mean, you know it.

Speaker 12 (10:56):
It's very easy for me to lose myself in words
and dialogue in books, in movies.

Speaker 8 (11:06):
I'm still a big fan of other directors of the actors.

Speaker 12 (11:11):
You know, I watch other actors do roles and I
always ask myself, Wow, would I have made that choice
or would I have done that?

Speaker 6 (11:17):
You know what I mean?

Speaker 8 (11:18):
And I still get lost in it.

Speaker 12 (11:20):
So it's still a really fun game, has its awe
and it's appeal as far as the.

Speaker 1 (11:27):
Music is so modern, I mean, you really pull us
in was.

Speaker 4 (11:30):
One thing I did actually in both films.

Speaker 5 (11:33):
I really wanted to kind of attract that modern audience
before it took them into that world. I want to
kind of take some of the old the new. I'm
sorry to introduce us to the old. I felt that
that was the best way to kind of hook the
viewer was the evens that they were used to and
then kind of bringing them into that story.

Speaker 1 (11:49):
And Glenn, one of the things that I learned so
much from this, I didn't realize this that southern agriculture
was on the brink of collapse. We're kind of almost
in that boat again. And you serve as a teacher
as well as a leader in the way of saying, hey,
I'm tapping you on the shoulder, pay attention to those
that are planting things in the ground.

Speaker 9 (12:09):
Yeah, how does that relate presently?

Speaker 6 (12:14):
I'm you know, I.

Speaker 12 (12:19):
Can only relate it to foresight of you know, I
guess what I know about things to come.

Speaker 8 (12:30):
Maybe I don't know.

Speaker 12 (12:31):
You know, George Washington Carver was a big believer in God,
and he was very much in touch with that little
voice on his shoulder.

Speaker 8 (12:41):
I kind of.

Speaker 9 (12:44):
Listened to that voice all the time, kind of all
the time, and so.

Speaker 12 (12:50):
I stayed pretty much in tune with the intuition that
comes from I guess, like you say, both being planted
on the ground and kind of never getting involved in
details and just kind of staying outside of the box
and looking at it as a whole thing, you know,
and not getting caught up in the compartmentalized.

Speaker 8 (13:11):
Distractions.

Speaker 12 (13:12):
I guess one might say so, Yeah, I mean I
George Washington Carver was a teacher, Yeah, and he could see,
I guess, things to come.

Speaker 8 (13:24):
Or he had a vision of what the world would
be like.

Speaker 12 (13:27):
If he didn't get his his act together and developed
the things that he developed. You know, the question was
kind of vague to me. I don't know, are you
relating that to me as a person and how I
am as a person in twenty twenty four assumed to
be twenty twenty five, or.

Speaker 1 (13:47):
Well, here's the thing I can related to what we're
doing with the soil today as well as what we're
doing with the people, because I believe the soil really
does affect what we're doing, the choices that we make
and how we plant things in our own mind, body,
and soul. So and I think that's what I got
out of this character is that I got to see
more than just the teacher, more than just the man
that understood the land. But there's so many scenes in

(14:09):
here that showed me the human, the person.

Speaker 12 (14:12):
Okay, well yeah yeah, And to make it very relatable
to an audience, I always feel like, you know, you
have to find out what a character loves and what
he doesn't love. And I guess even if you're playing
a bad guy, you know, the bad guys love something.

Speaker 9 (14:33):
They love it so much that they're willing to overlook
what other people love.

Speaker 12 (14:39):
To ascertain the things that they're trying to get. I
think George Washington Carver was very much like that. He knew,
you know, what touched him deeply, so he went for that,
and here, I guess in the situation we're in, now,

(15:00):
you know, that's that's that's that's a that's a big
question in itself, mining lithium and cobalt and things like that,
you know, destroying the earth to ascertain the synthetics that
we need to get by, you know, depleting the urg's
minerals to have cell phones and and batteries for electric cars.

Speaker 8 (15:25):
You know, I guess you can relate it that way.

Speaker 1 (15:29):
Aaron, You're the one that sets the scenes that when
he's being escorted off the campus because of his color.
It's one of those that that's a conversation starter because
it's one of those moments that you see it in
the movie, you experience it, and now you want to
go out and you want to talk about it. That's
what this movie does. It embraces everything about your emotions
so that you can create the talk.

Speaker 5 (15:50):
Yeah, that was one thing that everybody, including myself, had
to command Glenn's performances on because the way he brought
emotion to that character made you feel that character even
I'm not gonna lie.

Speaker 4 (16:01):
When I was writing the.

Speaker 5 (16:01):
Script, I thought the Heart of Congress, But when I
saw how he was able to take such intellectual language
and still bring it to the emotion of character on
a scene that could have been so emotionally dry.

Speaker 9 (16:13):
That was his captivity.

Speaker 5 (16:15):
And then to go on that scene to see how
it was the thing, not even the things he said
and that scene that you're talking about and when he
went to college, but the thing he didn't say, just
the looks he gave.

Speaker 1 (16:23):
That's it.

Speaker 5 (16:23):
When I spoke to him, it was like these little
minute looks that Glenn gave that really just pulled you,
like I couldn't wait. I couldn't wait to see the
undergrown up George in the film just because of how
much emotion you brought to every single scene, including that one.
You just you felt his pain, but you also saw
his grit at the same time inside that pain. And
that's one thing I really really enjoyed working with Glenn

(16:45):
on this project, is the way he brought the emotions
to those scenes and make you feel those feel those
moments and bring it to life.

Speaker 1 (16:50):
You bring up a very good point, and Glenn, how
did you learn that art one of facial expressions? Because that,
to me, is an art to be able to do
that without having to hear words, it's almost like we're
reading in your mind.

Speaker 9 (17:03):
Well, I can tell you I learned it somewhere, but
that would be a lie.

Speaker 6 (17:09):
I I think.

Speaker 12 (17:14):
In essence, I think, I think getting out of the
way and allowing, like I said before, words to mean
what they mean if you move.

Speaker 8 (17:30):
Okay, So in.

Speaker 12 (17:31):
Humans that have intent, and most of us have intention, uh,
and we're constantly trying to get somewhere.

Speaker 9 (17:40):
You know. When we write stories like the one that
Aaron wrote, uh, you know, I.

Speaker 12 (17:47):
Think it's a display of ideas and it's not always
like characters aren't always you know, it's just like they're
not always trying to.

Speaker 8 (17:59):
They do have a they do have what is it
called objections.

Speaker 6 (18:05):
But I think with.

Speaker 12 (18:08):
Acting, I guess, and trying to get those small moments.
You know, one of my acting teachers.

Speaker 6 (18:15):
Told me.

Speaker 9 (18:17):
A long time ago, never be afraid to be still
and listen because.

Speaker 12 (18:23):
The power and listening so the most minute facial expressions
come from no expression at all.

Speaker 9 (18:32):
And if you're not intent on your intention and your
objection and you stop to listen to.

Speaker 12 (18:41):
Someone talking to you, you almost become a blank piece
of paper, right.

Speaker 9 (18:46):
You become blank because.

Speaker 12 (18:47):
You're just taking in information, if you're taking it in
with the intent of saying what you have to say,
then you kind of stay one sided, right, and your
face doesn't get to change.

Speaker 6 (19:00):
But if you.

Speaker 12 (19:03):
Give over to the information that's being given to you,
and then you decipher it, and and then you make
a decision to have intention on what you're getting ready
to put your intent on what you're getting ready to say,
then there's a multitude of emotions and facial expressions that
you can go through right what to say.

Speaker 9 (19:26):
And if you don't.

Speaker 12 (19:28):
Drag them out, I guess if you let them happen naturally,
they're very minute and very fast and very you know, poignant,
you know.

Speaker 9 (19:38):
And I can't say that's something that I do intentionally.

Speaker 8 (19:40):
I just know how to break it down in a.

Speaker 9 (19:43):
Sense after because I've worked with a director named Colleen
Sarol once.

Speaker 8 (19:48):
Colleen sero.

Speaker 9 (19:49):
Yeah, she did Three Men in a Baby. She did
the French verse, COLLEENO. Yeah, is that right? I mean
to cod Yeah, Colleen, she did the French version of
Three Men and a Baby.

Speaker 12 (20:00):
She broke this movie called Mama, There's a Man in
your Bed and we eventually we're gonna do it.

Speaker 8 (20:07):
And I guess. It was Shirley Ralph and Richard Dreyfus
and myself, and we.

Speaker 12 (20:13):
Were having rehearsals and she kept saying to me she
wanted more, like, Glenn, can you give.

Speaker 9 (20:19):
Me a little you know whatever, something something something whatever.

Speaker 6 (20:21):
She wanted.

Speaker 12 (20:22):
She wanted more expression. I guess because she couldn't see it.
But what I know about acting is the camera never blinks.
It never blinks, and so if you less is always
more in front of the camera. Anyway, long story short,
I did this movie called Pastime, and I think she
went and watched it, and the next day she came

(20:43):
back to rehearsals and we were doing it and she
she just looked at me, Glenn, I'm not worried about you.

Speaker 8 (20:50):
It's going to be a nice when we fail.

Speaker 6 (20:52):
You know.

Speaker 9 (20:53):
She said that it's gonna be in your eyes when
we film.

Speaker 12 (20:55):
I know it is because she went back and watched
some of my other work and then she realized that,
you know, it just comes with what's going on. It's
you know, the moment happens in the moment. It's never
predetermined or you know whatever.

Speaker 8 (21:12):
I don't know.

Speaker 1 (21:13):
I just I do.

Speaker 6 (21:15):
I do what I do.

Speaker 9 (21:16):
Man and you know what.

Speaker 12 (21:17):
And it's funny because people think people can teach them
how to act, and no one can teach you how
to act.

Speaker 9 (21:23):
And it's just something you either know how to do
it or you don't know how to do right.

Speaker 12 (21:27):
You know, you either have the the spark that people
want to watch or see, or you're either interested or
you know.

Speaker 8 (21:34):
And there's a lot of people.

Speaker 9 (21:35):
Acting that you know are very good. But do they
have that thing who knows?

Speaker 1 (21:40):
You know?

Speaker 9 (21:40):
Do I have that thing who knows?

Speaker 13 (21:42):
You know?

Speaker 8 (21:42):
But the only way we.

Speaker 12 (21:45):
Find out is to I guess, like I said before,
it get me out of the way, and deliver the
words and the intention of the words, and let the
words live. And then when you're not speaking, being present
in the moment of what's being.

Speaker 1 (21:59):
Said to you, Yeah, speak, it does make sense and
speaking of those words erin. I mean, here's it. I'd
like to I wish I could have been a fly
of the wall when this fell onto your computer screen.
I've lost everyone. I feel so alone. That is a
language that almost every person on this planet has lived,
but we were watching it, we experienced it inside this story.

Speaker 5 (22:22):
Yeah, I really wanted to show the human inside of
George at that point. So I wanted to break them
all the way down. I wanted to show, like one
of the songs that we had on that what you're
looking for is inside of you. So I wanted to
break him all.

Speaker 6 (22:36):
The way down. Let it.

Speaker 5 (22:38):
Sometimes when you have a call, you have a certain dream,
you're going after your passions. A lot of times that
people around you fall off the more your career goes higher.
People that she's your best friend would disappear a lot
of times when you're starting to do things, and like
people that don't understand it, they try to show what
a purpose to not only save the economy, but make
something as simple as the peanut valuable. Now that's a

(22:59):
hard in the middle of racism, trying to make people
want to plant pain. That's when cotton is the main thing.
So he had this, he really had this shown drive
on him, and I want to show something. I wanted
to show exactly what it feels like when you shut
you have that drive venue and the world just turns
its back on you and you still have to keep
pushing forward. And so that's what I was going for
when I was writing mid line about Everybody I Love

(23:21):
left me if you notice that did a flashback to
his sister. Yeah, because his sister and his mother was
taken by Rady's a child as the film explorers, So
I wanted to kind of just bring all these emotions
back up to show how he was dealing with that
and how he processed it in those moments.

Speaker 1 (23:36):
Now, Glenn, with with so much hardship in the movie,
how are you emotionally Because I mean, I'm not that
actor that gets to be on that camera, but I mean,
but you bring it to us in a way to
where we feel. So therefore you have to feel it
before we feel it.

Speaker 9 (23:50):
Well, Okay, there's there's sense memory.

Speaker 8 (23:55):
I guess, there's.

Speaker 12 (23:59):
There's uh, you know, pouring water on your face, or
blowing uh eucalyptus in your uh e calyptus essence in
your eyes. I guess, a peppermint essence in your eyes.
It's all kind of ways people cry for me.

Speaker 8 (24:14):
It's it's.

Speaker 12 (24:17):
It's just always been a physical pay you know, like
physical in the sense that our body goes through a
physical sensation when we cry. And if you can somehow
manifest that physicality, you know, being short of breath. Uh,

(24:38):
there's a there's a raising of the lower diaphragm. You
don't get enough oxygen in your in your in your lungs.
You know, you you become very syllogistical in the thought
process because there's no oxygen, you know, and then there's
there's there's like your upper diaphragm caves in.

Speaker 9 (25:02):
It's a whole lot of you know, your shoulders get tight.

Speaker 6 (25:05):
You know.

Speaker 8 (25:07):
I remember just being a kid and having that, and
I can do.

Speaker 9 (25:12):
That right now to myself, and if I do it,
like twenty times, I can.

Speaker 8 (25:19):
I can cry just from that physical that physical.

Speaker 12 (25:23):
You know, it's not a maybe it is a sense memory,
but it's it's very physical for me though, very very physical.
Like if I tighten my chest, if I pull that
diaphragm up into my you know, and I get short
and I cut my air off, and.

Speaker 9 (25:43):
You know, it just it just creates the sensation, and
that's all it is. It's very physical.

Speaker 12 (25:49):
Sometimes I I you know, I'll find somebody that's standing
around and I'll just go look them in the eye
and get a connection.

Speaker 9 (25:59):
I think I did that, don't the set didn't I
think that one time?

Speaker 6 (26:02):
Yeah?

Speaker 12 (26:03):
I think I like one of the prope or something.
Some girl guy was just standing there and I was like,
could you come in one minute?

Speaker 8 (26:10):
We just made some real serious eye contact and then
you know, it's.

Speaker 12 (26:18):
It just you know, it brings that sensation of of
of of I guess one the thing that makes me
cry the most in the world is the world not
understanding my dilemma. I think that makes me cry more
than anything else in the world. Like I mean, and
I don't mean cry as I cry, but that that

(26:40):
gives me.

Speaker 9 (26:41):
Sorrow, you know, because.

Speaker 12 (26:46):
And I say my dilemma, but what I want to
say is is the dilemma of of of of love,
the dilemma of non love in the world gives me sorrow,
you know.

Speaker 9 (26:59):
So sometimes I can just think about the you know,
the plight of human kind basically, and and and.

Speaker 12 (27:06):
If I if I forget about my dallist learnings, uh,
and I don't know that everything is as it should
be in without white, we wouldn't have black, you know.

Speaker 9 (27:19):
If the eaching was it spinning in perfect harmony.

Speaker 8 (27:25):
Each ing. If the uh, what's the thing I'm looking for?
It's not the eaching?

Speaker 6 (27:34):
What is it?

Speaker 9 (27:35):
I'm having a brain for it right now? As the
energy the.

Speaker 8 (27:43):
Yin and yang.

Speaker 12 (27:44):
Yeah, Yin and Yang wasn't spinning in perfect harmony, you know,
with the with the with the with the small essence
of each.

Speaker 9 (27:51):
Energy at the center of the other energy.

Speaker 6 (27:55):
You know, I.

Speaker 12 (27:58):
I mean, because that's what keeps me balanced and keeps
me present in life and things like that.

Speaker 8 (28:03):
You know, when I.

Speaker 9 (28:05):
When I have to be conscious conscious conscious, Yeah, in
a in a situation where otherwise people might panic, I
often envision that harmony of of of balance and and
and it stays with me.

Speaker 12 (28:22):
But if I don't and I just think about one
side or the other, it causes sorrow and I can,
I can cry, and when I when when about you know,
in those moments also.

Speaker 8 (28:34):
It's just you know, it's just what it is, man.
It there's no there's no real rhyme or reason.

Speaker 12 (28:43):
There's no real technique because if it were a technique,
then you would see a technique.

Speaker 9 (28:51):
And what I try and do is I just try
and keep it very very very raw.

Speaker 12 (28:57):
Sometimes it comes up a little, you know, over overdone sometimes,
you know what I mean, Sometimes it's over the top.
But that's why we have directors, you know, because if
you go somewhere and that's not where they want it.
They just go, hey, could you bring that down a
little bit.

Speaker 8 (29:13):
Ease it out.

Speaker 9 (29:14):
I need you to cry two tears out of this
ie not that you know. And then you do that.
You know you want to you want one to come
down halfway and then you want to come all.

Speaker 8 (29:24):
The way down.

Speaker 5 (29:27):
You see, going with the perfect uh person for George
Washington Carver just now he speaks right, Glenn, Actually, Glenn,
can you tell them what you told me about how
you just started messing with the soil maybe a week
before you actually got this call, this call, how you
started geting connected to the earth.

Speaker 4 (29:44):
You told me that story and set well we first.

Speaker 8 (29:46):
Yeah, well you know, I was, I was, man, I was,
I was.

Speaker 14 (29:49):
I was kind of you know, feeling a certain way
about vegetables and stuff and how they weren't uh tasting
right and all this kind of weird that stuff, man,
And and uh, you know, I actually talked my daughter
into growing lettuce.

Speaker 12 (30:07):
And if that's the story you mentioned, uh, but you know,
if that's the one you're talking about. I often say
a lot of things when I'm in a situation, and
I don't I don't have to remember them because you know,
They're just moments in my life.

Speaker 6 (30:23):
Yeah, but yeah I did.

Speaker 12 (30:27):
I was getting connected to the soil right before h
Aaron called me about this project. It's strange that happens
for me though I don't I don't.

Speaker 6 (30:39):
See.

Speaker 9 (30:40):
And then again like there's.

Speaker 12 (30:43):
That little voice, you know, that that voice, that God
voice that I listened to all the time in those
moments of silence. You know, I'm getting ready to do
another project, and it's all about variance. And you know,
I don't know if you guys remember the six million
dollar Man, but they wanted his blood or something, but

(31:04):
it was his blood.

Speaker 6 (31:05):
They wanted.

Speaker 8 (31:07):
Six million dollar man. They read, No, that wasn't the one.
Which one was it?

Speaker 6 (31:10):
Uh?

Speaker 12 (31:12):
It was the same guy, but he was on the
run because government wanted his blood. Do you don't remember
that TV series? Wasn't it Lee Majors? Yet didn't he
play the six million dollar Man?

Speaker 1 (31:27):
Sure he did?

Speaker 8 (31:29):
And didn't he.

Speaker 12 (31:29):
Didn't he do that other one where he was on
the run because they wanted his blood? Maybe it was
somebody kind of likely major.

Speaker 8 (31:35):
The government wanted his blood because he had.

Speaker 9 (31:38):
This special kind of blood and he was always running
from them.

Speaker 12 (31:43):
Anyways, Uh, this thing I'm getting ready to do is
quite like that, because you know, and it's something that
I've been, you know, trying to wrap my head around.

Speaker 8 (31:52):
Now it's like nobody's and.

Speaker 12 (31:53):
I'm talking about COVID anymore and not talking about vaccines anymore.

Speaker 9 (31:56):
And I talked, you know, it's more of a of a.

Speaker 12 (31:59):
What they are talking about vaccines but talking about how
bad they are, now, horrible they are, whatever, things like that,
you know. So but yeah, it's just it's just being
in touch with those small parts of your life or
those small things in your life, and then it kind
of synchronizes itself into whatever it is you need to do,

(32:19):
you know, like whatever I need to do.

Speaker 9 (32:21):
I needed to visit my mom, and I was thinking, man,
I need to go up to her.

Speaker 12 (32:24):
And then I was wondering when the guy was gonna
call me so we can finish the movie.

Speaker 8 (32:28):
And then I had this time to go visit my
mom and I it's a little window.

Speaker 9 (32:31):
And then I got a call.

Speaker 12 (32:32):
It says, hey, man, there's this window when we need
the film and it's this day and this day. And
I was like, wow, that's right in between the time
where I was going to go visit my mom, and
so there it was. I left La, came up here
to open California and finish the movie. And I'm sitting
in my mom's kitchen right now, you know what I mean,

(32:54):
Like it's that kind of thing that happens to me,
man and I you know, and then you know, it's
like I was wondering, like, Okay, you know, there's Christmas coming,
and what I'm gonna do?

Speaker 6 (33:04):
You know, what am I gonna do?

Speaker 12 (33:05):
And you know, and all these other things have been
going on, this old vaccine situation, and then the COVID situation,
then the presidency, and then everybody asking me about all
this political stuff, and and now I just signed on
to do another movie kind of like the one we
did Aaron, but it's a pilot. It's only forty five
minutes long, it's not two hours, and we only have

(33:27):
eight days to do it.

Speaker 6 (33:28):
Wow, So.

Speaker 9 (33:31):
You know, I got twice the time to do this
movie that I had.

Speaker 6 (33:34):
To do yorks days.

Speaker 9 (33:40):
I think, eron, don't tell that story?

Speaker 8 (33:45):
Seven day?

Speaker 4 (33:46):
Wow?

Speaker 6 (33:48):
Wow?

Speaker 8 (33:48):
Seven days.

Speaker 1 (33:49):
Where can people go to get the movie?

Speaker 4 (33:53):
They can watch it on foshom.

Speaker 5 (33:54):
They can download the Fossom TV APPV free Awesome Television Network.

Speaker 12 (34:03):
But it's uh, it's called it's it's I guess the
acronym is falsome because they take the free out and
they just a W S O MP falseome awesome, awesome,
free awesome TV free, awesome TV Yeah, prete awesome TV
network awesome.

Speaker 6 (34:24):
Yeah.

Speaker 12 (34:25):
I mean, you know, man, I hopefully Aaron, you've got
another one written, man written, because I need.

Speaker 9 (34:31):
Something to do in jenuiney.

Speaker 4 (34:35):
Another fossome original going.

Speaker 8 (34:37):
That's all I'm talking about. Man, I'm so ready to
do that. Dude, you have no idea.

Speaker 6 (34:44):
I'll tell you what.

Speaker 4 (34:44):
That performance was. Polarizing, man, that performance was. You can
feel it even in the trailer.

Speaker 5 (34:48):
That performance is polarizing, the way he broke down over
Sarah and then broke down.

Speaker 4 (34:52):
Over Booker T.

Speaker 8 (34:53):
Dude, I watched that movie.

Speaker 9 (34:55):
Okay, let's talk about that for a second.

Speaker 6 (34:57):
Do we have time?

Speaker 9 (34:58):
Yeah, okay, So I watched that movie Problem and I
thought to myself when I saw the trailer. I watched
the trailer and I was like, oh, that that might
have been.

Speaker 12 (35:10):
Oh that was a little you know, emotionally charged. And
I kept thinking to myself, I hope this isn't overdone.
And then when I watched the movie and how you
cut it together and how it was edited. Bro, all
that stuff fell so well into plays. Yeah, you know,
the way you put that performance together. I just wanted

(35:31):
to say thank you for that, man, because you know,
you know, I guess a lot of directors and producers and.

Speaker 8 (35:40):
Studios and stuff.

Speaker 12 (35:41):
You know, when they get in their mind they want
to see a movie, they make the movie they want
to see, and when you watch it, you don't.

Speaker 9 (35:48):
See a performance.

Speaker 12 (35:50):
You see a lot of pieces of stuff that you
did kind of thrown into each other, you know what
I mean, put together. Like, but I really got the
essence of that performance when I watched, I mean the
performance I gave.

Speaker 8 (36:01):
This is what I'm trying to say. I got the
essence of.

Speaker 6 (36:04):
What I did.

Speaker 12 (36:04):
And I was like, wow, So he used it the
way we did it, like, you know, you didn't you
didn't get over there and go oh no, I don't
want that.

Speaker 4 (36:13):
Spice.

Speaker 5 (36:16):
I hadn't been in the past, but this one, this
performance didn't require that performance for itself.

Speaker 6 (36:21):
You know, I just I don't know. I saw it,
and I was.

Speaker 12 (36:26):
Surprisingly pleased that with the with the choices that you kept,
you know, to get your point across and it just
made me feel good.

Speaker 5 (36:35):
Yeah, I just want to say I didn't want to
take those the crime scenes I was. I was trying
to limit the takes because the whole set was like
just bawling in tears. So I know some of those
takes we did in one takes. I think maybe once
I did a wide shot to kind of get another
perspective of it. When those moments were like that, you
don't really want to recreate those moments or really kind
of keep bringing the actor to that that position.

Speaker 8 (36:57):
Tell me about it. I tried to.

Speaker 5 (36:59):
I try to get out of the net first taken,
move the cameras, and catch all day as I can,
and kind of kind of dance with the actor in
that moment.

Speaker 9 (37:07):
I just did this movie, this movie. I played this
pill forgive me God, this sex traffic game down on
his luck. That's why I got all his hair on
my face and I got my hair grown out right.

Speaker 12 (37:22):
This half half ass, you know he is gay, Main's
so tight no more, but he's still drugging girls to
try to get him the hook for him and stuff
like that.

Speaker 9 (37:33):
And the last scene that my last scene in the movie,
my bottom girl or my number one girl.

Speaker 8 (37:39):
Turns on me.

Speaker 12 (37:40):
My place is being raided, and she turns on me,
and she decides that she's not gonna let me go
to jail.

Speaker 9 (37:49):
She's she's she's taken it upon herself to be you know,
judge and jury and executioner.

Speaker 8 (37:56):
And she's gonna kill me.

Speaker 12 (37:58):
So the scene starts out out with me, you know,
doing these drugs and listening to this music and drinking
this swine it kind of and she comes in and
tells me the place is being raided and I'm so high.
I'm like what, it's like whatever, And then I'm like,
what the fuck are you talking about it? Then she explained,
you know, she goes into an explanation. I realized, I gotta,
you know, okay, let me straighten up, get my gun

(38:21):
whatever I'm getting ready to do.

Speaker 9 (38:22):
I turn around and she has the gun.

Speaker 12 (38:25):
And so in the first half of the scene, I'm
sitting here telling her that, you know, I know you
ain't got the heart to do this, You ain't no killer,
use a hole, and you shouldn't be putting that gun
and being bless you planning on shooting me, and we
both though you ain't finna do that shit.

Speaker 9 (38:37):
So just give me the gun, like you know, they
said that whole attitude, and then.

Speaker 8 (38:43):
She shoots me in the knee. Dang.

Speaker 9 (38:48):
And we had this joke because.

Speaker 13 (38:51):
I had this whole you know, like pimp attitude where
I had this whole affected voice and use a bid,
you know, get your saying you And when.

Speaker 15 (39:03):
She shot me, it was like okay, okay, wait a minute,
wait a minute. We laughed about it because she shot
all the pimp out this character.

Speaker 12 (39:14):
Right, she shoots him in the knee, and all the
pimp leaves and he just turns into this begging.

Speaker 9 (39:21):
Like sivelly, come please, please please.

Speaker 8 (39:24):
And you know me, Aaron, I had to go.

Speaker 6 (39:27):
Right.

Speaker 12 (39:28):
And the reason I brought it up was because you
said that you didn't want to keep taking me as
an actor to that point of you know, excessive emotional.

Speaker 9 (39:40):
Outputs and this dude that I just worked with, this dude.

Speaker 8 (39:45):
Had no qualms. We did my side about.

Speaker 12 (39:52):
Fifteen times, and I mean, because oh that that light
wasn't right, and you didn't take that gun shot right.

Speaker 9 (40:03):
You know, he didn't go in and pick nothing up.
He started from the beginning.

Speaker 8 (40:07):
It went all the way through it, and then the.

Speaker 12 (40:10):
Sad part about it was we had a whole day
to film, and if we would have shot my part
at like we did at nine thirty that morning and
turned around.

Speaker 9 (40:22):
And shot the other actress's part, I got there at
nine thirty, we would have been finished around yeah, maybe
twelve thirty.

Speaker 6 (40:33):
Wow.

Speaker 8 (40:34):
Right. I was there till two o'clock the next morning.

Speaker 9 (40:39):
Because he decided that he was going to shoot everything
in that direction and then come back and shoot everything in.

Speaker 12 (40:48):
That direction, and he shot everything in between, you know,
even when he turned the camera around, he shot everything
else in between, and waited till the.

Speaker 8 (41:00):
End of the night to shoot her side of the scene.
We did that morning.

Speaker 6 (41:06):
Wow Yeah.

Speaker 12 (41:08):
And it was insane because we turned around and I
had to do it again fifteen times. At the end
of the night, he had no clogs, Like, oh man,
I know, the camera in on you, but you know,
and being an actor that I am, you know, I
had to give her the essence of what she gave
me that morning. So of course I went there, you know,

(41:31):
and at the end of the night it was just
sheer exhaustion, and you know, and we were in a warehouse,
low budget, no money, you know, a couple of pizza
bikes from birth, dinner, lunch or whatever it was. But
we were there from like nine to two a nine
am to two A. Yeah, it was one of those things.

Speaker 9 (41:50):
It was.

Speaker 5 (41:52):
It's great to get different angles and things like that,
but I believe the best the best results is focusing
on the performance.

Speaker 4 (42:00):
Angles is good.

Speaker 5 (42:00):
If I want to do some pickup shots and some
cutaways and things like that to kind of add to
the story.

Speaker 4 (42:05):
But sometimes when you push.

Speaker 5 (42:06):
Your actor that that much, it can it can kill
the rest of your day, it can kill your crew,
and it can really just wear your actors out. Yeah,
I just like get the performance you need and make
sure because the audience is not Remember I shot it
from a high angle. Yeah, so if I want to,
if I want to open the scene up like breaking
bad for example, like they'll pull the camera, be underneath

(42:27):
the coffee cup in the car and they'll pull up.
You'll see the camera hitting in crazy spots to start
the scene. So yeah, start the camera in some crazy spots,
in with the cameras, some crazy spots. But when the
performance speaks, let the performance because people are coming to
see the performance, not the camera angle.

Speaker 4 (42:40):
And that's one thing you do when you put telling
these stories.

Speaker 5 (42:44):
That's the emotion is going to take you way further
than the angle ever will not knocking angles, but the
emotions all in performance always going to take your father.

Speaker 1 (42:52):
You guys have got to come back to this show
anytime in the future. I did. This has been a
total experience, once in a lifetime moment to hear you
break hit down. I thought I was weird when I
broke down movies. You guys totally understand it, and then
we get to receive it.

Speaker 9 (43:07):
You know, it's just is what it is.

Speaker 6 (43:10):
Man.

Speaker 12 (43:10):
You know, we've got people who live life, have experiences,
and then you know, if we had to live the
lives that we lived and had the experiences that we had,
we would be total nerds in the movie business, you
know what I mean If I can say that because
we would have all the technique, we would have all
the information, you know, and then that's how we would

(43:30):
approach it. But I think working with somebody like Aaron
who's lived the whole life and myself who's lived the
whole life, you know, and then I think we've both
gone in and got the technical aspect of filmmaking. You know,
we get to do these things and like I said,
you know, I'm in Oakland, Aaron, I don't know where
you are.

Speaker 8 (43:51):
I guess, okay, so you and your home. I'm in
my with my mom.

Speaker 6 (43:55):
Bro.

Speaker 8 (43:57):
Haven't talked to you much except about that trailer.

Speaker 6 (43:59):
But and uh.

Speaker 9 (44:05):
Yeah, just uh if something comes up, man call me.

Speaker 5 (44:09):
Yeah, And I definitely, Michael, we need to push on
Foston to put this in some type of festival or something,
because I think that was an award performance Glenn uh
performed on this. I believe that was really one of
those performances of a lifetime. So I would love to
see this, uh, that performance get some type of an
award or recognition. Absolutely, I want to put it somewhere

(44:30):
that can get some type of recognition. I believe that
was an award worth of performance. I believe, I believe
see that everybody sees it would agree like that. That
was one of the best representations of George Washington. Now,
we did Glenn missioned earlier about how we made some
changes because we talked George Washington actually had a very
high pitched voice, and we talked about that should we
do it high pitch like he does? But it's like,
you know what, I didn't want to distract the audience

(44:52):
from performance with that high pitched voice, Like, look, let's
just keep it where you have it at because I
believe the way you did it, it's going to really
take them out of it and be focused on the
voice so much so, even though he had a voice,
we didn't stick to that.

Speaker 4 (45:04):
But I did that more soldiers for the entertainment.

Speaker 5 (45:07):
You want to make sure they could really really just
tune into performance and not be too Yeah.

Speaker 8 (45:11):
Voice he picked up of what we were trying to do. Yeah,
that's cool. I didn't have a problem with that at all.

Speaker 6 (45:16):
That was awesome. Yeah. Wow.

Speaker 1 (45:18):
Well, you guys please come back to this show anytime
in the future. The door is always going to be
open for you that next project, especially Glenn when he
does it for you. You got something to do this
coming January.

Speaker 6 (45:30):
Nice.

Speaker 1 (45:33):
Well, you guys have a great day today.

Speaker 6 (45:35):
Okay, all man Man, thank you very much. I thank you.

Speaker 1 (45:39):
Please do not move. There's more of My Day of
Play coming up next with rock God mister Mike Mostert
from in Theory. Hey, thanks for coming back to my
Day of Play. Let's get into that talk with Mike
Mostard from in Theory. Hey, man, what's going on? What's happening?

Speaker 6 (46:00):
Hello?

Speaker 1 (46:01):
Yeah, can you hear me?

Speaker 16 (46:03):
No, you're you sound like you're your way back. I'm
right here, man, let me let me clear it right back? Okay, cool, okay,
what what's happening?

Speaker 6 (46:17):
Not too much? It sounds like can you call me?
It sounds like you're it's so far off in the distance.

Speaker 1 (46:22):
Okay, I'll call you back. How's that sound? Huh?

Speaker 6 (46:27):
That sounds beautiful. That sounds brilliant.

Speaker 1 (46:33):
You've been musically challenged, your guy to come up with
even a greater collection of music here.

Speaker 6 (46:39):
I'm always challenged with that.

Speaker 1 (46:43):
What would you say that music to you is a
science experiment?

Speaker 6 (46:47):
Oh, that's that's a great way of describing it. You know,
the studio is my lab. And yeah, but it's it's uh,
I know, but it's it's a lot of pleasure, if
that makes sense. You know, it's it's a lot of pain,
a lot of hours. But you know, there's there's a
quote that I put out recently, but basically, you know,

(47:09):
to create something that wasn't there, you know, and now
ten hours later there's something there you know that never
existed creates such a fulfillment for me. You know, and
and you know, maybe it's a fulfillment that we're you know,
our creatives. You know, you're you're creative guy. I'm a
creative guy that we you know, that we seek and
we need to to fulfill us you know. So, but yeah,

(47:32):
but what a what a place to do it? And
you know, and such with our guy Charles, you know,
so there's a lot of toys and and it's great
to have them in a way, like you we call
like the fifth or sixth member of the theory. But
he has the endurance and and the and he's willing
to go down the rabbit hole with me through my

(47:53):
adventure because I'm like, hey, what what about this? Bass On,
what about this? And he's like, all right, let's do it.
You know, whether it's going to come out right or wrong.
But you know, but we never think it's going to
come out wrong, if that makes sense, because I don't
think there's any wrong way. It's just your interpretation of it.
You know. It's like you know, but the fact that

(48:13):
we're always wanting to go down that that strange path
that this journey.

Speaker 1 (48:20):
I think this has got to be maybe the first
time since we started talking that you were out on
the road this time around and then went into the studio.
Did you learn anything out there.

Speaker 6 (48:27):
On the road. I didn't learn a lot on the road.
We actually did three runs this past this past year. Wow.
And I have to say, I mean, I think it
was getting my uh that's Pin says, get my sea
legs back as a as a performer, you know, and
trying to bring the songs to life because on the

(48:47):
the record is so many different guitar parts, there's so
many different vocal parts. There's some songs where there's you know,
there's there's two tunings, three tunings acoustic, and like how
do I bring this to life? As you know? So
learning how to do that and then learning you know,
I was trying to I saw a documentary and and

(49:09):
I just saw like how people were describing seeing Hendricks
for the first time, and then they were interviewing like
Jimmy Page and Jeff Beck and and in my head
that's what I wanted, Like, you know, I wanted people
to walk away with how do you get that? It's
not so much in the playing style, but in the
energy that you put out, you know, can I create
that energy? And it took me a little bit. I

(49:32):
have to say it probably took I felt probably by
the fourth show, I figured it out, so you know,
and so in a lot of ways, it's almost like
for me, it's that's way to describe it. You go
in there with like you don't care attitude. Yeah, you know,

(49:53):
so I don't care if I make one mistake, a
million mistakes. You just put it all out on your
sleeve and you go for it. And and when I
used that approach, you know, it was there was some
days it was it was quite amazing. It was you know,
it was really it was amazing. And you know, and
I based it on the people's reaction, not because I

(50:14):
thought I was amazing, you know, because it was such
a strong reaction. It was not like you know a
lot of times people are playing you know, you guys
sounded good. You know, they give you the thumbs up.
But the reaction where you know, people wanted to order up,
they wanted your CD, they want your shirt, They just
want to give up. They want to give you a hug,
they want to take a selfie, and they just want
to tell you about their first guitar experience. And they

(50:36):
were just so excited to talk to you about it.
So I felt they did something right to excite these
people where they just wanted to talk to me. It
was so much about guitar playing and how I affected them. So,
you know, I think I did something right.

Speaker 1 (50:51):
When you work with somebody like Vinnie, did he do
the tracks in his studio or did he come to you?

Speaker 6 (50:56):
Vinie? Vinnie was I have to say, Vinnie is the
only one that I was not there. Uh you know
every other you know, every other session and every I
was there for every minute of every session. So Vinnie
Vinnie was the only exception, except I think I made
him run through his paces a little bit. That stays
the same, you know, Like I think when he did

(51:22):
this is a song. I think it was not on
the promised CD, but there was another song. And I
think just by my reaction after he did, I go,
He goes, well, what do you think? I go, well,
I said, well, I think we can make it work.
And I could tell that that's not the answer he wanted.
You know, it's not the answer I want to give either,

(51:42):
you know. So he goes, give me a couple of days,
let me work on this. Let me work on this,
and he goes I need to take my Vinnie vitamins.
And then he came back with a couple more versions.
You know what we were talking, you know, him and
I were talking about what the song needed, and of
course you know he killed it. But what a difference. So,
you know, two days or three days or a different

(52:03):
approach makes to a song. Yeah.

Speaker 1 (52:06):
I love Tony's voice in the song. Don I mean, boy,
he really he locks in and he's on a mission
with this song.

Speaker 6 (52:13):
Oh yeah, it's almost it's very uh it's borderline almost
like it's you know, like nineties a modern metal vocal.
I'll give you that. You know, so doing raw, you know,
he's this, he's just going for it, and I know
it always drives him crazy. But and a lot of

(52:34):
singers do it. You know, they'll you know, they'll do
a three counter or a two count. I'm holding out
a note. So no matter what it is, I make
Tony holding out one you know, one extra second or
whatever if it could be a seventh count, holding out
this a little bit longer. And he's like, well, you know,
I'm gonna have to do this live, you know, like
I don't worry about it. You've got it, you know,

(52:55):
but yeah, he's he's killing it on that, you know,
but as much as he's locking in, if you go
now to like the bridge of the song, you know,
it's very sweet. You know, it really takes a quick
left turn. You know. I'm down so now.

Speaker 1 (53:12):
One of the things that I experienced while listening to
all of this incredible new music is the fact that
it still upsets me that Gene Simmons said that rock
and roll is dead, when in fact, I'm at that
point now where I'm going. I think you just stopped
listening to new artists, is what you did, dude, Because
when you listen to this collection of music with even
Perry Richardson on it, with with Tony and with Vinnie,
I mean, it's just amazing on how this is a

(53:34):
step forward in that rock generation.

Speaker 6 (53:38):
I completely agree with you. And you know it's almost
like you know how you know, with our parents and
that time about well, you know, there's no good music anymore. Yeah,
while we were growing up, like you know, say, you know,
if it wasn't Ferry Sinatra, you know, or that, or
you know, it wasn't good music or you know, or
the equivalent. And I think you hit it right with

(54:01):
the Gene Simmons or equivalent. They're not listening to what
these kids are listening to or what's the up and
coming music, So they don't have a reference of what's
what's really or they don't have a pulse on what's
going on with the newer generation of rock, because there
is a lot of great rock, you know, not only
there's just so many, you know, I mean, it's really

(54:22):
there's certainly. That's why I say it's just so many.
You just have to go find them. And I don't
think you really have to search that far. I mean,
if you go on YouTube or on Spotify, this hit
play and just let it go, and there's a lot
of amazing bands out there.

Speaker 1 (54:36):
The song promised Land, it starts off so intimate. How
did you get Tony Tony to kind of get into
that mindset and mood swing?

Speaker 6 (54:45):
You know that one to say, Tony was right on
it right away, like I got it done, and that
song was it was you know, it was a magical
song all around, I mean musically and vocally. What happened
was I was at I was at a fire pit.

(55:06):
This is how this whole song was written. I was
at a fire pit and so, you know, at the
fire pit, you know, I was just chilling out, you know,
having I don't know, probably was Jack Daniels or something
at a fire pit, and and they said, well, you
got to play guitar, play guitar, you know, And I didn't.

(55:27):
I didn't really want to play guitar. I just wanted
to relax. So this person insisted here putting guitar in
my hand, and I just started playing risks. I didn't
realize that they were videotaping, and then the next day
they sent me a video of me at the fire pit.
That's why there's there's some promo videos of actually playing

(55:48):
at the fire pit, which is really kind of cool
because that's the day or the night I should say
I wrote the song, and it's no, it's not that
much of a deviation off the fire pit versus what's
on the I could and because when I when I
heard the video, I'm like, oh, I would never Like
if I was thinking about what I was going to do,

(56:09):
I said, I would never play it that way. I
would I was I was dropping down these notes in
in a chromatic fashion that I would never do, but
I would wait. So if I was gonna do like like,
but I was doing it was it was adding extra
chromatic with the pause or rest in between. I normally
don't play that way, you know. And then when I

(56:30):
saw the video, I'm like, do you have any more videos?
And then I just they only had one other video,
and then I combined the boat parts and that became
Promised Land. And then right away I knew I had
something good. So I just jumped in the studio and uh,
you know, and I cut all the parts and I
sent it to Tony and I had to say that one.

(56:51):
He really did quick. It was like within an hour
or two. Wow, that was an unusual one for us,
you know. I mean, like I said, it was, if
this person didn't take a video of me, it would
have never happened. I would never remembered that riff.

Speaker 1 (57:07):
And yeah, World on Fire. You play with Tony's voice
on this song? What is that effect you've got on it?

Speaker 6 (57:14):
Oh? We have. We have so many different types on
Tony's voice. We like to call that one the Zeppelin voice.
That's the bust. That way you can refer to it.
There's Zeppelin used that a lot, and I'm not sure
which which one we're using, but it's definitely. We call

(57:34):
it the Zeppelin plug in. Yeah, there's actually a few
different ones that we're using on Worlds on Fire, but
but yeah, it's it's the Zeppelin patches, you know, it's
some sort of rotary plug in.

Speaker 1 (57:48):
Yeah. With with so many people going back to albums
and the sales are up, do you are you going
to do this as well? Are you going to put
it out there in album form?

Speaker 6 (57:57):
Yeah, we're doing a little bit of everything. So yeah,
I mean, right now we have it in CD form
and we're gonna do a limited run. I think we're
gonna forgot color. We're gonna do it. But I know
we're gonna do a limited run, and we may combine
the first and second record together and be like a
full wool, like a whole full school, you know, full school,

(58:20):
whole school. I should say, you know, l LP versus
two separate EPs. This is It's cool because I think
it gives the listener like a real full musical journey
of what the theory is about.

Speaker 1 (58:34):
Yeah, raise me up. Oh, I love the way that
you've got those drums in there and then here comes
that guitar.

Speaker 6 (58:41):
Yeah, you know it raised me up. It's it's such
a you know, it's what do you want to say
about that? That? When I believe in that the entry,
I was trying to emulate my good boys, good friends,
the rival sons guys. Yeah, you know the there's a
song that I heard and I'm like, well, I kind

(59:02):
of like that feel, and and that's what I did.
You know. I took like an octave pedal and you know,
and it's a count of line to what the the
rhythm is doing. So it's you know, but I was dead,
you know. And then what people will realize, they think,
I'm actually repeating it four times. What the riff is
inverted every other times it's opposite. So so yeah, but

(59:27):
I thought it fit. Like, while I was doing it,
I didn't think it fit that well. But I'm hearing
it back and I'm like, oh, yeah, that works great,
you know. So and it sounds like a little you know,
it's a little bit of a dirtier tone on that,
but I like that, you know, I like the variation
of that.

Speaker 1 (59:45):
How about staying on my soul? I mean this did
it start off as a boom boom power right off
the bat or did you have to build that song
and say no, it needs more here, it needs more here.

Speaker 6 (59:53):
Staying on my soul, staying his soul was almost around
the same time as as promised. I was in that mode,
I think, if I'm not mistaken, I was staying on
my soul, but I stay in my soul A world
and a fire. I remember I came up with that riff,
you know. You usually I come up with the riff
and then set it off to Tony and then and

(01:00:15):
then we start collaborating from that point. But I remember
that riff, and initially when I did it, I'm like,
there's something missing on this rift because when I sent
it to Tony, and there's a few people that I
sent tracks to that, you know, I use it as
a barameter. There's there's people that are fans of in
theory and fans of hard rock that are not musicians,

(01:00:38):
And you know, I think probably more musicians should do
like this, given like a preview to someone that would
actually buy your record and that would be a fan
of your music, because I think a lot of times
musicians we write for other musicians without even realizing like, oh,
everything has to be technically this or technically that, or

(01:01:00):
I should be at this level because you know, in
a lot of ways you want to impress your musician
buddies or the musician world, but at the end of
the day, they're not the ones that are really buying
your record. And so when that riff was coming out,
when I did that rift, I'm like, you know, when
I said to Don and people like it was like

(01:01:21):
you know, and I'm like, I'm getting mad. I'm like,
what you know, I'm like, So that night I'm like,
what is missing on that rift? And that night I
worked on that. It's just that Dan, you know, I
was like, what's missing. It's not popping, It's kind of
popped for that type of song. And it was really
a matter of on what I was doing on the

(01:01:44):
one downstow and an upstroke and just tightening it up,
and that made the big difference. And then I do
a secondary guitar that emulates the bass and the bassis
emulating that guitar. That makes sense. So if you listen
in ear and earbuds or like wide stereo speakers, there's
one guitar doing that. But if you let's listen you

(01:02:09):
know this whatever the bingles speakers and put it in
front of you, it sounds like one continuous rift the dam,
you know, and that's what that needed. So you had
that almost like there's a chucker check, a chucker check,
just the train. The train keeps going. And then I
just overdubbed the other part, like you said, I just
did some downstrokes and upstrokes slightly tighter. And yeah, there's

(01:02:34):
because there's a chugg in between. It's you know, it's
you know, so they're countering U or or maybe I'm
gonna say counting, maybe they're riding the train that's chugging. Wow.

Speaker 1 (01:02:46):
Where can people go to find out more about what
you're up to.

Speaker 6 (01:02:49):
They can go to in Theory Original dot com. It's
a good spot, but I do recommend going to you know,
our Instagram is always quite active, the same thing as
in Theory in Theory Original for that mistaken as well.
And then we also recommend it if you go on
like the Mic masson official Instagram. There's definitely a whole

(01:03:12):
lot going on there because it's in Theory and then
some and then of course you know Tony Coveno officials,
So between all our social media, we know we're covering it,
covering a whole lot, you know.

Speaker 1 (01:03:24):
So well, you know, this isn't going to be the
only time we're going to talk about this album, because
we're going to get together several different times and just
keep breaking this stuff down.

Speaker 6 (01:03:33):
Yeah, and then actually, you know what, I think are
going to be in your negative woods very soon, very soon.

Speaker 1 (01:03:38):
Well, you've got to keep me posted because I missed
out on the last one.

Speaker 13 (01:03:42):
I know.

Speaker 6 (01:03:42):
Well, I think we all did, right. There was a
cancelation of ya right, so but i'mn sure I should
announce it. But there's there's two projects that are going
to be in addition to in Theory and the people
that were collaborating they happen to be in North Carolina,
so definitely be in your neck of woods. I think
we're going to start sometime in the next two or

(01:04:05):
three weeks, so we'll keep in Charlotte. The ones in
Charlotte was in Greensboro.

Speaker 1 (01:04:10):
Well, you got to keep me posting so we can
see each other live.

Speaker 6 (01:04:14):
So that that's the hint. Greensborough. You might know who
it is.

Speaker 1 (01:04:23):
Well, dude, come back anytime. You know, that door is
always open.

Speaker 6 (01:04:26):
I appreciate it, and I appreciate you.

Speaker 1 (01:04:28):
Thank you, all right, you'd be brilliant, you know.

Speaker 6 (01:04:30):
I had to say that, you know, and I have
to try to be brilli because I have to keep
up with you.

Speaker 1 (01:04:35):
There you go.

Speaker 6 (01:04:37):
Nobody wants to be dull.

Speaker 1 (01:04:39):
That's right, that's right. Have fun, guy,
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