I mean I think about that a lot with the podcast that I make right because I kind of fell ass backwards into this career via a job that came to me out of nowhere that I no longer have, but which might be the high

watermark of me getting attention from strangers for maybe the rest of my career no matter what else I

fucking do and that seems like something you probably have some perspective on as someone who had a hit song that you wrote a real long time

ago and you're still here and you're still making stuff.

Totally I think and I mean I know what you're referring to like I actually didn't the other day

was when I told my guitar player

that I did this podcast and he was like,

oh yeah, she used to do this other thing

with this other guy.

And yeah, I think that another one hit Wonder Band that I love that really doesn't deserve that designation because their catalog is so fucking insanely good.

His fountains of Wayne and I mean, R.I. P.

he died of COVID, like, I guess, almost two years ago now,

but they would be asked about it in interviews and he was like we're not going to have another

hit like we're not going to write another hit we don't want to write another.

You know that's to have that I mean to bring it back to like I guess the

political it's like that's that really is

relegating art to like frass capitalism and its rewards and incentives. Like anyone who's going to be

committed to making stuff has to get those notions out of out of their head because it is an impediment to creativity. It's more than that. It's such straight up block, you know?

So, I mean, for me and like,

when it comes to like making rock and roll right now

with my friend John, like that the act of doing it like making the thing that stokes us and turning it and turning it up loud

that's where the validation is like that's where and even if I hate it three months later, it doesn't matter, that sounds insane.

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