Previously on Keep the Dream Alive.

As the studio got culty, it just was permanently booked.

It was like somewhere on 450 days in a row sold out.

At that time, San Francisco still had some weight as like a cultural center.

I do think recent years in San Francisco crossed a new kind of line.

I watched countless artists leave this city,

and I watched the fragile scenario in which artists could stay in San Francisco and make their

things become impossible. Tiny telephone made you feel like you were hanging out in a room,

and that everyone was behind you, and you were making music the way people

love to make music. My general feeling was that the bigger the band, the more of a pain in the

ass they are. Third eye blind asked me for four months of studio time. And I was like, man,

I don't know about this fucking crew. So he sits next to me and he says, what are we going to do about this rate?

And then he turns around and he walks out of the room.

Most bands, when it comes down to it, are remarkably conservative and remarkably fearful.

To really use the studio as an instrument, the only way it would work is if I had my own studio

and I could go there after hours.

When you're in a recording class that is 95% male, everyone thinks you are the dumbest one

in the room, but I have felt that at other studios, definitely.

People who tour a lot, they're often, you know, they're often emotionally damaged people.

I met someone, she was fascinating.

I really fucking like this person.

And I ask her nervously if she wants to kiss me.

...