Technical failure and Marvin Hamlisch interview

Dude, I don't know. Every day there's something new. Yeah, it's like a little consistency is all that the world is really looking for, right? Dude, this is an entire week where we are just trying to be able to put on the best show we can. And we've been successful for the weeks prior to this. And we continue to try and ask for some assistance on this. And we're not seeming to get it. So I'm a little frustrated about this again today. But, hey, thank you folks for tuning in to Grand Theft Audio Radio. Let's see if we're even on. Okay, something's wrong because we're not even on the air. Okay. We're playing an old episode. ... ... ... Hey, how you doing, man? Good. Yeah, my pleasure. We have some slight pictures. We're not even broadcasting on the air. We're not even broadcasting on the air. We're not even broadcasting on the air. We're not even broadcasting on the air. We're not even broadcasting on the air. We're not even broadcasting on the air. We're not even broadcasting on the air. Not yet. Not yet. This is a different episode of GTA coming up now? ... ... ... I have to find Tom. I have to find Tom. I have to find Tom. It's very nice. I like it a lot. Yeah, we've got a killer show for you folks today. Definitely a client. We can't believe that we scored this one. Ladies and gentlemen, we have with us Michael Gilbert. Absolutely. That's going to be fantastic. We've got to be more than love getting to meet him. Then we have an even bigger surprise. I can't believe we got this one either. Mr. Carl Kuzlaus. Definitely a bigger surprise. It's bigger. It's not... And I'm barely hearing anything. Nothing there, right? Hardly anything at all. Hardly anything? I can barely hear our show in the background. No, that's probably because I have this on here. That's exactly why. Who we love. Who we love. Who we love. Okay. Okay. Okay. Okay, this sucks. Okay. Okay. Okay. Okay. ... Thank you. Thank you. Thank you. I'm on the air right now. I'm on a musical break. Yeah, did you get my test email? Okay, cool. So it did get through to you. That's great. That way I can be able to cut up what we did yesterday and be able to send it over. Well, it's welcome, dude. I look forward to getting you guys in here and through again. Hey, you too. Bye. Okay. Keep the signal up. Come on. I don't know who's running this place now, but this is just bullshit. I have a file for you, dude. It's just not going to happen. You're getting older and you're continuing. Because, you know, he's the mid-30s guy who's continuing to look at 18- and 19-year-old girls as if he has a shot. One of my best friends. One of my best friends is just like... I'm not going to use his name right now. He's never been mentioned on here. But, you know, we're 38 years old. So is he. We've seen classes. And he wants to date like 20-year-olds. This says it's recording. I finally had to convince him yesterday that... Hey, hey, hey, hey. So it's going through to there, but it's not coming out. So how do I switch where the input is? Come on. ... ... The way I came up with this was, you take your age at 18, cut that in half, and then you add 9 years. So at 18, I shouldn't be dating anyone under the age of 18. It's just probably good common practice that you don't get yourself into any trouble for underage sex. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. I'm gonna keep trying to talk in here and hoping that something comes through. I'm gonna keep trying and if it doesn't then I'm probably gonna mess you up. Stab you in the belly and maybe in the face. I don't know which one that is and that they would show you. It looks like this. Two bars next to it just so people know that you might find it on the remote. Man. Okay so we got a couple of genuine news stories today. Genuine. Genuine. Kind of that fake show. Yeah. This one really, really is. Here in the state of California we've been taking in extra money for people who want more money. Hello? Hello. This is Nicholas. Hello Nicholas. How you doing man? This is Jake from Grand Theft Audio Skid Row Studios. How are you this morning? Hey I'm doing good. I'm doing good. I just got your message right now. I'm sorry I was asleep still. Alright so what's the problem? Usually the show just starts at 9 o'clock. Like everything just runs out and whatever's playing stops and then it starts picking up the signal from inside the control room. And this morning it did not do that. Did the computer in the control room lock up? No. It seems to be running. I guess there's a program, maybe it's called Nicecast. And it is up. And it says that. Nicecast quit unexpectedly. Click reopen to open the application again. And I've tried to do that but that doesn't seem to be doing anything. Oh really? Okay. Have you opened up Radio Logic DJ? I will see. I believe that's open. Radio Logic DJ? Yes. It says preference set default. Okay. Was there. So you're supposed to have a show. You're supposed to have a show. You're supposed to have a show. You're supposed to have a show. That's supposed to be going right now? Yeah. We do a daily show from 9 to 11. We've been doing it for a couple months. Oh. All right. You turn. All right. So did you have. All right. So there's nothing playing right now? Not even a pre-recorded broadcast? Yes. There is a pre-recorded broadcast going out. Okay. And you can hear it? You can't hear it? Did you turn up the control? The power? Yeah. Okay. So you can hear it? Yeah. So you can hear it? Yeah. So you can hear it? Yeah. Is the button marked CR on the sound board? The control room's volume? Yeah. We can hear it. Okay. Is your show supposed to start at 9? Yes. Okay. Look at the recorder. Okay. And look at the recorder in the rack now. The solid state recorder, the silver one. The thing that records every show is it. Okay. So you can hear it? Yeah. So you can hear it? Yeah. Okay. So you can hear it? Yeah. So you can hear it? Yeah. Okay. So you can hear it? Yeah. Okay. So you can hear it? Yeah. Okay. Is it running? Yes it is. Oh okay. So the hour is running right now? Yes. Is it 2017? 2018? 2019? Yeah. Oh wow. Okay. So that's working and there's a pre-recorded show playing but the pre-recorded show never, it never stopped? Yeah. Okay. So I can hear it? Yeah. Okay. So I can hear it? Yeah. Okay. So I can hear it? Yeah. Yes. Okay. Click the button that says auto. Yeah. It says auto on right now, yes? Yes. Okay, click it. Okay. So that it says auto off and tell me if the rebroadcast stops playing. Okay. Okay. Hold on. It's not going to be on there. Yeah, it's not going to be on there. Hold on two seconds. Hey, Brent, do you have it on your phone? No, I can bring it up. What did I just do with it? Oh, I forgot to plug it in. Hold on one second. Yeah, all the episode is still running. Okay. Okay. okay and how which which channel faders do you have what's up right now like i'm talking about beyond the microphone that you guys use do you have you have 10 are 10 11 and 12 all up right now uh 11 is up uh 12 is up and yeah i guess they all are up yeah but only turned on and up in volume the only one that's on is um is uh 11 okay yeah 11 would be the one that well when a show is going on normally just the mics are on and 11 would be on and playing things if you had sound clips or music as a part of your show which we do yeah okay um okay so a pre-recorded program is still running right now but the recorder is on yes okay uh okay so did you turn auto off uh i sure did yes okay what i'm thinking you can do is okay in the program radio logic you you It's letting you... I'm sorry, I'm sorry. The program that is currently playing, rebroadcasting, it shows what it is, right? You can see the name of it and everything. What is it a rebroadcaster? What it says on the list is it says, Now, Skid Row Studio Live. Okay, so it's playing. Yeah. Yeah, hold on. Let me see what's going on here. It does not make a lot of sense to me. Yeah, it just says, Now, Skid Row Studios Live. Did it just stop? That's what it says it's playing right now? Yeah, it says... Like that little list on top that says, Before that, Just Heard, and Now. Yeah. What it says for now is Skid Row Studios Live. All right, well... Okay, well, you can try and do... Whatever is coming through the speakers right now, whatever you're hearing in the control room, that's not your show. That's playing being rebroadcast. Why don't you click it and stop it? Press... ... ... ... ... ... ... ... ... ... ... ... Thank you. Thank you. Thank you. Yeah, yeah. Why don't you just turn your episode off? Do you? It's literally not. I do not see it anywhere that it's playing. I mean, it is not on this Radiologic page. What that has up is something called Drew Mark's Bad Advice and Skid Row Studios' Silence Track Half a Second. I mean, it is not queued up anywhere that I see. Okay, actually, okay, okay. I'm starting to understand more what you're saying now. All right. Actually, pop up iTunes and see if... If for some reason it's playing in there. Jeremy had to take some stuff in there and he transferred some stuff over there. And I think it actually might be running in iTunes. Yeah, I have... Pop up iTunes and see if there's something playing in there. I have iTunes up and it is not playing in there. Shit. Wow, okay, okay. Let me see. Okay, so you've looked for every application that might be controlling sound that's going on and you can't find... Where your rebroadcast is coming from. Yeah, I'm trying to. Okay, what is this? This is called... Okay. This is called Radiologic Scheduler. Yeah, that just shows that the time programs, how long they run and which ones are lined up for the week. I think that has to do with the rebroadcast, but there's no sound coming from there. The only two places where there's... Sound coming through that goes on the air, like as far as like songs and things, are Radiologic, DJ, and iTunes. All right, I'm thinking, I'm thinking. Okay, did you... I sure did. I tried Jeremy first and I tried Sonia, who used to be our engineer. I tried both of them first, but I got nowhere with them. Like, I had no answers. Oh, wow. Okay, okay. Okay, so the recorder end is working right. Technically, it is recording that you're showing. It's recording what's supposed to be a live broadcast right now. Yeah. Okay, you turned the microphones off. They're not on on the soundboard? Mics are on on the soundboard. Which mics do you have on? We have the two that we work with, two and I guess five. Okay, I guess turn them off for now. Shoot. Shoot. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Yep. Yep. It's on fire. Now, is it registering me there? So you can tell him that. I'm hearing it on the speakers in here now. But we're still not, we're not, we're not hearing anything that's being broadcast out through these speakers like we usually would. Yeah. Yeah. Um. Hey, Brent. Is, when I'm talking, is it coming through those microphones, those over there? Yep. Yeah. This is. Um, I'm trying to. Now he, now he can hear microphone one through his headphones. Yes. And you just turned on five. And so I can hear five in my own headphones now. Uh, and the, but the rebroadcast is still running. Yes. Yeah. But we're not hearing it in the headphones either. That's really weird. Only because, uh. Whenever, whenever the recorder kicks on, it's only supposed to be recording a show that's being done live in the studio. Uh-huh. It doesn't record rebroadcasts. And it's a rebroadcast, but everything is set up and timed together so that a rebroadcast is supposed to stop running. And, okay, do you, do you play clips? Do you play sound clips or music on your show as well? Yes. Okay. Do you build your own playlists and have them inserted in the Radio Logic? Uh, no. Um, I handle everything through a soundboard on the screen. Okay. Oh, yeah. I'm in the talk room computer? Yeah. Okay. So you run the soundboard yourself? Uh, no. I'm sorry. Not, that does not happen here. That happens from the, um, uh, yes, yes, yes. I'm sorry. From the talk room computer. Yes. Yeah. You set up, you set up your sound clips on the soundboard in the talk room computer, right? Yeah. Yeah. Yeah. That's correct. Yes. Okay. Okay. Um, okay. So, there's not, even if you wanted to stop the rebroadcast, it'd be playing. You don't see anywhere where it says what's playing? I sure don't. Can people stop? I sure don't. No. I, I, I looked on the, I looked on this computer. I looked on that computer to make sure that it wasn't somehow running in the iTunes on the one in the control room or on the, um, the page for, um. Uh, you know, like, you know, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like Hey, this is Jake Belcher back again. That was Spirit Map, one of my favorite types of show. They will be coming up. Google Chrome is open with the vendors. You're going to see them live pretty soon. Jake Belcher, I'm over in Las Vegas. I ran a little bit faster than you two. Which I can't really blame you for. Joining us in studio right now, I heard you're going to be doing a big show. I'm excited to see you. I'm excited to see you. I'm excited to see you. You're going to be doing a big show. You are kind to me. You say that I saw a lot of show here this weekend. For this weekend, a lot of for soon. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. right now and then suddenly show called smash now you you you i guess that means you can record i think you shut off the mics until do you want to try and do a half hour of something or should we just because you can still do the recording it's just not broadcasting live but it'll be recorded you can just have them take the last 30 minutes what is it again okay you you you yeah i'm here i'm here myself through the phone phone call 1-800 i i don't know the rest all right phone's ringing i have nothing coming here hold on try again it brain just talk to your phone okay i'll i'll get i'll get it in a second um get back on your phone say again try on your phone again okay talking into my phone are you hearing it yes like one second delay i wonder if this stuff is recording yeah probably is awesome awesome all right should i turn off my phone yeah at least we know that that part is working now yes we do oh here's your phone back thank you thank you thank you thank you thank you thank you thank you thank you Hey there, YouTuber! Now stop me if you heard this one. A lion, a zebra, a hippo, and a giraffe walk into a casino. Run from the law. Guys, we got a tale. Right on time. Well, who knows what we're going to do here. This has definitely been a fucked up waste of a day. Yep. Glad we came down. Got up early. Yeah. I have such little respect right now for our listeners. Such little respect for our listeners? Just the whole thing in general. I'm going to eat this big-ass Subway sandwich. I ate a big-ass Subway sandwich. Mmm, delicious. Sure are meaty, motherfucker. That's what you get when you get this Philly cheesesteak. Yeah, it's pretty good, actually. Mmm. Like, you want vegetables? I'm like, fuck your vegetables, bitch. No. Meat, cheese, and sauce. Those vegetables can suck my dick. Well, hey, everybody. This is not going out to anyone, so what's the difference? Right. This is all going to get deleted. Yep. It already basically doesn't exist. Exactly. All we're doing is talking to each other through the microphones instead of without the microphones. A little bit easier. Yeah. I can hear you really well. Yeah. It's kind of nice. And the fact that we know that the phone works. Yeah. Good, clean signal. Yeah. By the way, we're getting it. And here I am still using the cough button when I don't have to because this isn't going out to anybody. That was just for me. It was. It's so I don't clear my throat in your ears. So I mentioned I should be pleasant and not just chew right into my phone. No, that's quite all right. I don't mind. I know you're hungry. Thanks. You had salad for dinner. Definitely not as hungry now. As I was earlier. Well, good. It's a big ass sandwich. It's a big ass sandwich. So Elvis is coming back from the dead thanks to some digital wizardry. Why are they doing that? Digital Domain Media Group Incorporated, the Academy Award winning studio that created visual effects for Transformer Films and Tartron Legacy, has signed an agreement with Core Media Group to jointly develop and produce a series of virtual Elvis Presley likenesses for a range of entertainment projects, including appearances in shows and film and TV productions. With studios in Los Angeles, London, Vancouver, Canada, and other cities, Digital Domain created the computer-generated likeness of the late rap star Tupac Shakur for Dr. Dre's recent show at the Coachella Valley Music and Arts Festival. Is there a lot of arts down there, you think? No. Are there a bunch of booths that have, like, art stuff? No. It's a tattoo shop. Are tattoos art? For some people. To a certain type of deviant. Core Media Group, a portfolio company of Apollo Global Management, owns the... Licensed rights to Presley, Muhammad Ali, and other figures and brands. Muhammad Ali is not a surprise that we'll probably wind up seeing him relatively soon. Let's not tell Carl that we're on the air and just be horrible to him. Okay. Come on in, you dumb motherfucker. Right now we have the dumbest person on the face of the planet joining us. You can't believe what a fucking retard this guy is. Hey, how you doing? Dumb dumb. Poop for brains. Stinky. Knee-high socks. I'll give you a stinky. Yeah. We have brought you in here for a special piece of information. What? We have your mom on the line, and we're going to talk about incest. Yeah, right. Thank you for being here, Carl. Okay. Okay, Carl's mom, say something. Hello, Carl. Yeah, I'll tell you this much. We're not on the air. We're having technical difficulties. There's no show going on. There's no show going on. I would never actually treat you like that. It is recording what we're saying, but it's not going out. It is never going to exist anywhere. There was another one of our episodes, for some reason, is broadcasting over the Skid Row. They don't know what's wrong. Yeah, and Jeremy won't be able to... Yeah, we'll be able to do that. We'll just cut out the last 30 minutes. Yeah, at 1030 when he gets here, you guys can record it, and it'll be available as a sound clip for an upcoming whatever. Okay, that's cool. Yeah, yeah, fine. Yeah, yeah. Okay. So at least you don't have to cancel that. Clown just actually showed up, and we had to, you know... Wow. He's going to... We lost... Karen Kilgareth. Karen Kilgareth for our live show, so he's going to fill in for her. Oh, right. What happened to her? No real explanation. Just can't make it. Well, he's better. Hell yeah. Hell yeah. Yeah, well, let's held that fresh. Yeah. Yeah. I just sent the notices out. I am really surprised with the sheer number of computers that you've gone through that you haven't bought one of those ones that are, like, in those, like, steel cases. This is pretty solid. Oh, no, I believe that they keep getting a little bigger every time you get a new one so that they'll absorb some more damage. But, I mean, I've seen those ones that they talk about where, like, it's shockproof. You can drop it from, like, 10 feet up, and it'll... Oh, no. No. No. No. No. No. No. No. They'll absorb it, and they're... I mean, it's the casing that's so much more expensive, but... About day two or three of me having this one, I was running to a movie screening in Beverly Hills, and my bag flipped open, and it went, boom, into the pavement, but nothing happened. It's been fine. I'm shocked. Shocked? Shocked, I tell you. Shocked, I tell you. Well, they have shock absorbers on those, too. But, I mean, I don't know. I mean, with my luck, I thought it would totally... ...unmute. I'll find the water with this. My file system. I'm going to go down. So, you want the paper? I think I'm just going to head back early. Yeah, that's about right. Hey, Domo. No, I'm going to go to the restaurant and get this kind of food. Ah. I'll be able to have some breakfast. Good. Did I give you guys a good discount? We get 50% off on days we work. We get nothing when we don't work. Oh, really? Yeah. But you can order a la carte, too. Like, these scrambled eggs. Yeah. I usually just get one egg and one pancake. And it costs. Like, two bucks and 64 cents. Yeah. And since. I just usually just take it out of my tip. All right. Because somebody tipped me breakfast. Exactly. All right. I'll give it to you. All right. I found the number for him. I'm going to read over my questions. Thanks. Hey, I see you. Yeah. Hello? Hello? Hello? Hello? Hello? Hello? Hello? Hello? Hello? Hello? Hello? right all right oh or 925 or 1025 okay oh what is it okay oh hey we still let's figure out today for sure this Van Halen thing because I don't want to leave you stranded really oh because she wants to be alive or what okay we can still go there right well no no I'm trying to well I don't know I want to fix my I haven't done anything for cause effect I need to do the the theme song and I forget what what's on day is oh you're right okay I'm sorry that's fine that's fine you said you said you said you said you said you said you said you said you said you said you said you said you said you said you said you said you said you said you said you said you said you said you said you said you said you said you said And if you want to do anything tomorrow, we can always go in a half hour early tomorrow. But I don't see a big reason to go out there today. No, no, no. That's fine. I'm sorry. I forgot I had that. That's fine. I just blanked. No problem. Thanks, dude. Thanks, dude. Thanks, dude. Thanks, dude. Thanks, dude. Thanks, dude. Thanks, dude. Thanks, dude. Thanks, dude. Thanks, dude. Thanks, dude. Thanks, dude. Thanks, dude. Thanks, dude. Thanks, dude. Thanks, dude. Thanks, dude. how so what they do i'm having to concentrate on a sec to keep looking but they're full of shit because they were just bragging to you about how many listeners there were for um he's just pissed because you're leaving that's why part of me thinks this is on purpose hey um i i'll get into it later about why or whatever but well actually um that girl drove me crazy and then she apologized because there was a misunderstanding of that makes sense so i'm talking to her but i'm being very leery anyway she might have a connection getting oliver stone and so i'm gonna try and milk it if i can for that she just wrote me about it she's pursuing it uh no problem you and if they had like left me a message that said that then i would have just gone ahead and recorded the show but we were freaking out so we basically uh did nothing today so okay yeah no problem uh i appreciate you getting uh yeah it's still down so um yeah and we had some pretty decent people figure today too and the oscar grammy winners like um so you know things happen um they happen so can't complain too much um can you can you can you tell me one thing um i'm i'm in the control room right now and i'm trying to bring up the screen from the um the other room and it says connect to shared computer host you know what i put there to be able to pull up that screen so i can take a call ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... Okay. Yeah, that's what I'm trying to do. I'm just trying to get the other screen to come up on here. No problem. No problem. We'll figure it out. Thank you so much for your help. Thank you. Bye. Yeah. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Skid Row Studios, Jake speaking. One moment. This is Skid Row Studios. Can you hear me? Hello? Okie dokie. I have no idea why this is not going. He's not here anymore. Yeah. Yeah. I can't test it unless I have someone calling in. I can't. What does that sound like? Hi. Sorry. We're just going to just test something. If you could dial back and just hold on until we're done. It'll just be another minute or so once you're on. But yeah. Or just call us back with that number. And then. I can't. I can't. I can't. Yeah. Yeah. We can't call out. You have to. If you could call back in and then just hold until we tell you that we're ready. Like you may not hear something for a second, but it's okay. Is that alright? Oh my God. You don't have to. You don't have to. There's something. It's a nightmare. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. Stop. a beep and then Carl will come on the air. Okay. Okay. Okay, give me a speaking test with you. Welcome to Causeversations. Okay. Marvin, can you hear Carl? I hear him fine. Excellent. Okay, I'm going to give you an intro and then I'll jump into the first question. Now, we're talking about Pasadena, am I right? Yes, sir. This is about Pasadena Pops and a little bit about your career. And it's going to be about 20 minutes, if that's all right. Okay. It's going to be in the newspaper and I also own a web radio station, so it was such a rare thing to talk to somebody of your stature. I thought, oh, well, if you wouldn't mind, I'd also record you for radio and give you extra exposure. We have about 20,000, 20,000 listeners. Okay. Okay, thank you. All right, so I'm just going to start with the intro. Ready? Okay. Welcome to Causeversations. I'm Carl Kozlowski and today I'm especially honored to have an extremely rare individual in that he is one of only 11 people ever to win all four of the greatest entertainment awards that America has to offer. He's a winner of Emmys, Grammys, Oscars, and Tonys, as well as a Pulitzer Prize and two Golden Globes. And he's now the conductor of the Pasadena Pops, who start their new season at the L.A. County Arboretum. And please welcome Marvin Hamlisch. Hi, how are you? Just fine. How are you? Well, I'm looking forward to Pasadena. I love Pasadena. I got to tell you, I love that whole world. Yeah. I particularly love the orchestra. I don't know if your people understand this, if the audience understands this well, but the orchestra really are the same people that are basically doing all the movies. And so they work during the day, you know, doing the, uh, uh, the soundtracks for the movies. And then they come at night to the, uh, uh, to rehearse. And they're, they're these crack musicians. I mean, it's like, uh, they could probably do the show without a rehearsal. Uh, they're just fantastic. So it's wonderful. It's a lot of fun. And we have three wonderful shows this year at the, uh, at the Arboretum. Three really, really good ones. We start out with, uh, they're playing our song with, uh, Lucio Arnaz and, um, Robert Klein. And Robert Klein's hysterical. And then at the end of that show, we do a, kind of a 30-minute version of the show they're playing our song, which I wrote with Carol Sager. Oh, great. Um, so it's a, it's a wonderful show. And then we, you know, we have a lot of, we have a good time here. Yeah, that sounds great. And, um, when you came into, this is your second season with the Pops. Uh, Right, right. So, um, but you're also a conductor all over the country with Pittsburgh, Milwaukee, Seattle, San Diego, and Dallas. Uh, and I don't know if there's any others, but it sounds like that's a pretty full calendar. Yeah, that'll hold me. That'll hold me pretty good. So, that's true. So, how does, how does one, um, uh, manage to, uh, conduct in all these different cities and find something unique to do in each of them? Because I assume you do, uh, different seasons, different types of seasons in each one of them, or? some of them are different, and some of them you are able to take the same show to different places, which is also very helpful. Uh, so that, that helps. Uh, some, some you can't. Some are just very time-based. For instance, we just did a show like, for instance, if I do a July 4th show, one, in a, in a place that's around July 4th. You can't do that in December, you know? but, uh, you know, it gets done, and it's, uh, usually three or four shows per city. So, uh, it's not as bad as it sounds because, you know, even though it's, uh, um, these places, there's, there's, every, every time I go there, it's usually three or four times a year. And if you do three performances each time, you're really talking about in a city maybe 12 performances a year. So five orchestras, 12 performances, you know, um, it's, uh, 60, 60 concerts out of a year. That's not, that's not a lot. And, uh, meanwhile, that gives me enough time to do what I really love to do also, which is to, uh, write. I'm writing a show right now that we're very excited about, which is for DreamWorks, which hopefully will come out in 2014. Wow. So I'm, I'm busy. So what is, what is the, the show, if you can talk about it for, uh, DreamWorks? Because, um, you don't tend to do as, as much, uh, conducting or scoring for films, uh, anymore. So that should be a real treat. Uh, what are you working on? Yeah, I, I, I love, I love, uh, I love Broadway. Uh, I am doing a movie for HBO, which, uh, Steven Soderbergh is going to direct. It's, uh, based on a very particular time in the life of, uh, Liberace. Huh. And it stars, it stars Michael Douglas as Liberace and Ned, and, uh, uh, Matt Damon. And, uh, so that, that's, we start that in August. So, and, and is the score for that, uh, rooted in Liberace style music or? Yeah, it's all, it's, it's what we call an adaptation score. I doubt that there will be any brand new notes. This will all be based on music that Liberace is famous for. Okay. Cause, um, in the informant, you worked with Soderbergh as well in 2009. Right. And that's a really fun score. I mean, I, I interviewed you once before for, uh, Pasadena Weekly. And, um, I remember noting that, uh, I thought that just, made the movie. I loved it. Well, I love that score. To be honest with you, I think that score deserved more of an honor than some of the scores that I've gotten nominated for because, uh, the way I look at these things is who else would have come up with that idea? You know what I mean? That was a really off the wall idea to come up with a, what I call a, um, a score that really is like, like his condition. You know, he's bipolar, so is the score. Um, and, um, so I was very happy with it. Wow. Okay. So, um, that, but is that score even available for people to buy it? Because I'm trying to find it and it seems, I think it might be on iTunes. I don't know. Okay. No problem. Uh, so I want to ask, um, we'll get back to the Pasadena, uh, things in a bit, but, um, as far as your life goes, uh, you've been involved in music pretty much your entire life. Your dad was an accordionist and a band leader. So, um, how did, how did music influence you growing up and were you formally trained or did you pick it up? Oh, I'm, I'm, I'm a Juilliard student. Yes. Oh, wow. Totally formally trained. I went to Juilliard for 13 years and, uh, piano was in the house and, uh, I took it up at the age of five and a half and I've been at the piano ever since. Wow. So, um, then one thing I've always wondered when the people are, uh, composers such as yourself, then, uh, how does, how does that process work? I mean, do you, are you just flooded with musical ideas everywhere you go? You, you hear music in your head and you just got to get it out or, is there, is it more complicated than that? I, I, I am what I call a gun for hire, meaning I write because somebody has written a book or someone has written a libretto, there is characters on the page and I start to get into those characters and I write for those people. Uh, no, I'm not sitting in a restaurant every day going, oh my God, I love this hamburger. I love this hamburger. Is this true? No, I don't do that. I just eat the hamburger and pay the money. But when I, when I need to write, when there's an actual, a single assignment to write, that's when I write. Wow. So, um, this is a lot funnier than I thought it would be. Uh, I love that answer. So, um, then basically over time though, you worked on so many amazing, uh, music, so much amazing music that has really stood the test of time as well. Um, you know, of course, uh, people, just some of the people that may not know, you're responsible for adapting Scott Joplin's works on The Sting, uh, the fantastic entertainer, especially you, uh, wrote The Way We Were, uh, Nobody Does It Better. It's, you just, you do the melodies though and you worked with people like Carol Blair Singer for the, uh, for the, uh, lyrics, correct? Or do you do the lyrics sometimes? No, no, I only write music. Okay. So how does, how does, how does that process work when you're working with, uh, with a songwriter, uh, like Carol you had Particular Magic with and worked with a lot, but was she the only person you worked with during that stretch or, uh, was that? Well, I mean, both, both Carol and I were working with other people. Uh, I mean, I'm, I, I, I based my way of writing very much like Julie Stein did. Julie Stein wrote with a lot of different, uh, uh, lyricists and I like that too. I mean, I don't think you should just sit down with one lyricist. I mean, it works, don't get me wrong, but I, I prefer working with different people for different projects. And again, you know, you watch the film, you're watching, you know, uh, uh, The Spy Who Loved Me, you know, you're watching the film, you kind of get into it and the next thing you know, she comes up with the title like nobody does it better and you're off and running. So, yes, I mean, The Way We Were would never have been written unless there was a film called The Way We Were, unless there was a book called The Way We Were. So, I mean, these things all have their way to slowly but surely get to the part where they need music and that's where I come in. Okay. So, um, then, what would you say the key to conducting is? Because, I mean, what made you decide to switch over or to, add that to your repertoire to switch over? Right. To me, to me, when you're doing a pop show and you're conducting, the most important thing is clarity. Clarity to the musicians. If the musicians understand what you're doing, you know, like, keep it simple. If they understand what you're doing, you're going to have no problems. If you get too, um, esoteric, too, uh, I don't know, too wild, too, uh, um, very, uh, I don't know, I don't know what the word is exactly, but, you know, we're, we're, it's getting too much. You don't want to go over the top. You want to be very straightforward. It's very much like getting directions. You know, like when you stop somewhere and you ask the person for directions and if you hear them say, well, you go to the corner one east, uh, one tenth of a mile to go to the northeast corner and make it a left. However, when you see the, it's too much. You go, I don't know where I'm going. You want someone to say, go up two miles, make it a left and you'll be fine. Uh, and that's what you want from a conductor. I mean, a conductor is literally conducting you through to get you from the beginning to the end and you want him to be, his directions to be very precise and easy to follow. Okay. So then, um, with all the types of music that, uh, you've done, um, what do you listen to on your own? I mean, do you have a favorite artist or, or set of artists or style of music that you listen to? I, when I'm in my car, when I'm in my car, I only put on Sirius radio and I only put on two stations, which is either Broadway or Seriously Sinatra. Huh. Um, when I am doing a show, for instance, that I'm doing now, which has a lot of hip hop in it, then I will purchase on iTunes, hip hop tunes that I will kind of emulate or at least use to get me into the groove. So on my own, I tend to go for Sinatra or Broadway. So the project you're working on for DreamWorks has hip hop, you're saying? Say that again, I'm sorry. Which project has hip hop music as the one for DreamWorks or? The DreamWorks, right, yes. Really? Well, that's an interesting mix. How did they decide to, uh, how did you, how did you wind up crossing into that? I mean, I know you don't, I asked you about the project in general, but I didn't realize it was hip hop. That's quite a switch. Well, it's not, it's not all hip hop. It's a, it's a combination of, of traditional and hip hop. So, I'm just glad I got the assignment because I'm loving what I'm doing. Yeah, yeah. Is there anything that, because this seems like a surprising fit for you, so, has there been any project that you worked on over the years that you could say was a particular surprise that you were asked to do? Because something off the wall for you? I think the biggest surprise in my, my, my career was getting the Bond film. Huh. You know, because, I mean, we did get a big hit song out of that. Yeah. And the Charlie Stein was, was brilliant in it. But why they picked me, I'll never know. But I'm thrilled they did. Well, you wrote a real classic, you know, ballad for it. I mean, it wasn't the typical, maybe that's why you're surprised because it wasn't like Liver Let Die kind of epic. No, no, no, no. It was, it was much more of a, a torchy, very sexy ballad. Oh, absolutely. But what I mean is, is that why you were surprised that, that they didn't, that they picked you because it wasn't, you know, the epic kind of guy? Right. Okay, go ahead. Yeah. And so then, what would you say, has there been like, like a most difficult project in your career that's something that you wish could have turned out a little bit better or maybe it was a big challenge but you wound up working out great? If I understand the question you're saying, what was the most challenging thing you ever had to deal with? Like something where, man, that was tough but it worked out great or were you ever disappointed or wish, like even if it was something famous, did you wish anything could have turned out different on any of your projects? Oh, no, I, you know, I never look back. I never, and I never, it's like, you know, it's like, what it's like is you're in a plane and you're going through turbulence, right? Uh-huh. Now, what can you do about it, really? I mean, what can you really do about it? You can either scream and yell, you can pray, and you can take three Valiums. That's about it. You can't really turn the plane around, right? Yeah. In the same way, we can sit here forever discussing, you know, this thing was good, I wish I'd changed that chord, I wish I'd done this. No, I don't do that. I'm so happy with how it all ended up. I'm just happy that we're fine and dandy and I leave it at that. And do you have a particular favorite project though out of everything? Well, Chorus Line to me is still one of my favorite moments of my life because I got a chance to work with Michael Bennett. Yeah. And it's where I always wanted to end up which was on Broadway so I was very thrilled about all that. That's great. Okay. And what about, one thing I read is that you were an early accompanist for Barbra Streisand. Is there any stories you can tell about working with her? Well, I was the accompanist for the, I was an assistant dance ranger on Funny Girl and that's where I first met her and we have been friends since then, since I've been about 19 years old so it's been a long time. Wow. And I've been very lucky. I've worked with some of the greatest people in the world. I've worked with her, I've worked with Dina Manziel, I've just worked with Liza Minnelli since the age of 16. So I've been very, very, very lucky in my career having met just about anyone that I ever wanted to meet so I'm very happy with that. Okay. And what would you say is people can look forward to this season with the Pops? Well, as I said, we have the, the, the, the Planar Song, yeah. We have the, the Planar Song and I think that's in, I'm correct, that's in the, the middle of June, I think that's the 16th of June. Yeah, that's where we're Right. And then we do the, we have Michael Feinstein coming in on the 21st in Pasadena. He's unbelievable. In fact, he's, he's fantastic. That's for July 21st, right? What? July 21st? Yeah. And then I'm just, I'm just trying to think and then we have a Gershwin show on, on the 8th of September. So, all in all, it's going to be darn good, a darn good season at this beautiful place called the Arboretum. This is the first year that we've played at the Arboretum and it's a gorgeous outdoor facility. Absolutely gorgeous. Well, that's great. Yeah, because that was a big, that was a big hullabaloo in Pasadena about switching over from one venue to another. Right, right. You guys really won out it sounds. It's going to be wonderful. They're going to love it. People are going to love it. You know, it'll be new in the beginning but I think people will love it. Okay. Listen, I'm going to go to rehearsal right now. No problem. Perfect timing, sir. Thank you. All right, thanks a lot. Bye. That was a conversation with the legendary Marvin Hamlisch. Thanks for listening. That was good, dude. Can you hear me in there? That was good. Can you hear me in there? Okay. Very entertaining. He had one joke there that just made me laugh my ass off. I love that ham, burger. I love this hamburger. Hilarious. We got about four minutes until we got to be out until we're out of here. So I'm just trying to wrap up a couple things on this side and get things ready for tomorrow. You're fine. Wrap up. You're fine. No. That's what I'm trying to find out. Uh. Uh. Uh. Uh. Uh. Uh. Uh. Uh. Uh. Uh. Uh. Uh. Uh. Thank you. Thank you. Thank you. Thank you. Thank you.