The Three Questions with Andy Richter - Mark Foster of Foster the People

Episode Date: August 27, 2024

Musician Mark Foster of Foster the People joins Andy Richter to discuss how “Late Night with Conan O’Brien” (sort of) led to Mark’s musical career, the similarities between comedy and music, protecting your inner child, sobriety, why Foster the People needed to make a joyful record right now, and more.Do you want to talk to Andy live on SiriusXM’s Conan O’Brien Radio? Leave a voicemail at 855-266-2604 or fill out our Google Form at BIT.LY/CALLANDYRICHTER. Listen to "The Andy Richter Call-In Show" every Wednesday at 1pm Pacific on SiriusXM's Conan O'Brien Channel.

Hey everybody, welcome back to The Three Questions. I'm your host Andy Richter and this week I'm here with Mark Foster of the band Foster the People and we had a great conversation about his early days in Los Angeles, the creative process and a lot more than that. Be sure to check out Foster the People's new album Paradise State of Mind. It's out now. But before my conversation with Mark, I want to thank everyone who's called into the Andy Richard Collins Show so far. If you want to be a part of this new show, you can find out more information in the description of this episode. Now, here's my conversation with the very talented and very interesting Mark Foster. You don't have kids, do you? No.

Yeah, yeah. See, that's why I can wake up at 10 a.m. and still be tired. Right, right. Yep. No, you can be tired at 10 a.m. when you have kids. It's just a different kind of tired. I feel like you, as a dad, you get used to being tired, right? Yes.

Yeah, yeah, yeah. You just learn how to function tired. Yeah, pretty much. And it's, yeah, and it is, it's, yeah. I would say, yeah, yeah, it's very rare that you feel. And I mean, I get a good amount of sleep, but it's still, it's a lot, you know? Yeah, it's weird.

Cause all the dads that I know that are good dads. Yeah, that's the key. Yeah. I'm just like, you're a complete badass. Like I don't know how you function. Yeah, yeah. Like you could go to bed at like 2 a.m., still wake up at six,

and then just go through a whole day, get way more done than I get done, and be completely exhausted, but they seem fine. But after a while though, you don't, if you cannot do the, you can't stay up to two o'clock. Like it just becomes physically impossible. Unless you're, you know, if you're working, then you have to.

But like this, like 1030, I'm like, fuck it. I cannot stay upright anymore. And it's just, and I mean, I'm older now, I'm 57, but it's like, you just, you know, I can't even imagine like the number of nights in a row that I would be up to like one, two, three o'clock in the morning. It's just like, what a stupid thing to do it feels now.

How old are your kids now? Well, I have a 23 year old, an 18 year old, and they're not, they are not, I'm not tired because of them, I mean, you know, physically tired. But I have a four year old. I was, I'm married again and have a four year old. So yeah, back in that, in that sort of line of work. And it is. But your circadian rhythm has been locked in for like 23 years. You've been waking up with the sun.

Yes, yes, yes. Absolutely. Yeah. Yeah, no, it's really, really difficult for me to sleep past like 7.30, you know? But, you know, whatever. Well, hello, Mark Foster. Hey. Thank you for coming in here. It's really good to be here. Yeah, it's good to meet you.

And I have to say that I'm honestly kind of nervous right now. You're such a big part of my childhood. Oh, gosh. And like high school, I'm like kind of nervous right now. You're such a big part of my childhood. Oh gosh. And like high school, I'm like starstruck right now talking to you. Thank you, oh wow. That's really nice, thank you.

Yeah, so. I am gonna try and make you cry. Yeah. It's got, you know. I'm gonna try to find some way to make you cry. It's gonna be an example of not meeting, don't meet your heroes. Whether through bullying or through, you know, forcing you to really look, take a good hard

look at yourself. No, thank you. I appreciate that. You know, that's, that is like one of the, probably the best thing about, about getting to be on a, on a good TV show for a long time is that you do realize. Like it is, and comedy's so great because you are literally making people happy. You know, like you, it's like the most direct line

between an actual expression of happiness and you know, in your work, so. Well it's, yeah, and I've thought about that a lot too, just because comedy and music have a lot of similarities. Yeah. They both, I don't know, I think of them as a lot too, just because comedy and music have a lot of similarities. Yeah. They both, I don't know, I think of them as Trojan horses, kind of, because that's the other side of comedy,

is that you can feed somebody their vegetables. Yes. Using comedy. Absolutely. And give really hard messages. Absolutely. And it just bypasses the defenses and goes straight into your heart,

which music can do that too, but in a different way. Absolutely. No, I agree 100% and it is like, to me, and I've always felt this way about comedy, like there's a lot of comedy that's real, like just didactic, that's like, and there's a lot of sort of political comedy that I think, and with people a lot of sort of political comedy that I think, and

with people that I've came up with where I just was like, why don't you just write like a blog or a pamphlet or something? This is not a comedy sketch. This is kind of just, you're just kind of, and in many cases, preaching to the choir. Where do you stand on like George Carlin? Where does he fall into that? Well, but I mean, well, that's standup, but he was always funny too.

And that's always, that's, I mean, and that's the key to everything is like, there's comedians that I don't agree with, but they're fucking funny, you know? And it's so it's like, okay, yeah, I'd say that, but it's, but you know, like the, I was just asked recently about you know And I mean I get you get asked about well is

You know wokeness ruining comedy and it's like yeah comedies really fucking struggling like there's no comedy Anywhere anymore. What are we gonna do? It's like no. It's just kind of lazy people you know it's kind of funny to what I've thought about as well, because it's like in the time of censorship or the woke kind of conversation or whatever, is that it's actually kind of the best time if you want to be a provocateur. Because it's really easy to get a rise out of people. You know, it's like going back to like

what Lenny Bruce was doing back then, it's almost like we're in a time now where you can say a couple things and everybody's like, oh my God. I can't, you know. So if you wanna do that thing, it's actually, people are paying attention. Right.

Right. Yeah, I don't know. No, I agree, but I think it's always, I think that the most artful thing and I think that, you know, you do it, you try to do it in your music and I think you succeed with your music, is that if you can get people to get the message and they don't even know that they're basically,

they're enjoying the sugar and not the pill that it's coating, it's like, that's always to me the most interesting stuff. And that's always to make a point politically with like a comedy sketch. Like it was always like, no, you let the comedy, you're sneaking, you're always sneaking the message in. And it seems like that's something

that you have tried to do without suffering a loss to making fun music that sounds good and is good to dance to and is really catchy. Yes, yeah. I don't know if it's like an intentional, like I've tried to do it. I know that it's happened.

Yeah. But I think that it comes from just wanting to be authentic. Yeah, it's an instinct. And as an artist observing the world around you and certain things come out and sometimes you hit a subconscious thing that feels really close to the truth of culture and even if it's a hard truth because like art doesn't always have to make you feel comfortable and that's something that I've kind of been

on the receiving end of doing stuff like that and then having to kind of feel like I have to defend it in a way which is an interesting place place, you know, to be, where it's just like, Oh yeah, but art doesn't have to be comfortable. Yeah, no, no, it doesn't. It shouldn't. Some of my favorite art has made me extremely uncomfortable, but then I think about it and then I learn from it. But yeah, as a songwriter, it's not something that I've tried to necessarily do.

But it's just, you know, sometimes, yeah, when I've been authentic with certain things or with myself, things will come out. And I'm like, oh, okay. There it is. But it's always, it's not like it's just you making some point. It's within a really good song, you know, that sounds good and that sounds, you know, that's hooky and fun and that you can dance to, you know, and I think that that is probably just instinctual, like, it's the same. You know, like, it's the musical version of,

well, it's gotta be funny. It's like, well, it's gotta be a good song too, you know, it's like, you well, it's gotta be funny. It's like, well, it's gotta be a good song too. You know, it's like, you know, it's gotta be good. You know, you want people to hear it and like it. Yeah. You know? Sure.

I mean, I don't know what it's like when you're writing or if you're working on your comedy. I know for songs, when I'm writing a record, I tend to sketch kind of, you know, kind of like verse chorus vibe is kind of my rule. When I'm making a new record, it's like I'll kind of write a verse-ish part, a chorus-ish part, and then kind of the tone of whatever the idea is, and then I'll like put a pin in it, and I'll keep doing that until I have like 70 to 100 ideas, and and within them there will be like

15 that I like and then I'll end up finishing probably you know. 10 or 11 will make the record but like so within though there's a lot of trash too you know what I mean? It's like you're looking for those moments where the spark is there and the flow state is there and like something you know there's that kind of thing that happens that has some sort of I don't know I don't know if it's authenticity I don't know if it's like the spirit of creativity or something comes through that feels weird sometimes it's just the accidents yeah yeah you know it's like I've seen that in improv yeah. Or it's just the accidents.

That's what, that's the whole key. I mean, that's literally the best stuff. And because it's the stuff that surprises everybody, including, I mean, I've, when I was doing improv on a regular, regular basis, there would be times and I got to experience saying something that's like really good, like not just funny, but also sort of like does a lot for the whole piece and it comes out of my mouth and I didn't like it wasn't me saying it. They were in a flow state.

Yeah, I was just as you say, yeah, flow state and it's a pretty amazing feeling. I haven't been there in decades because it really does take like improv is really like a muscle. Yeah, it makes your brain into a muscle and it's like my brain is flabby now in comparison to when I was young and tight. And I really liked you that you do that, that you kind of like, kind of jot a sketch down and then come back to it later. Well, you know what, it's, but it's all based in improv.

Yeah. That's my process. So it's- Just fucking around with a bass line or whatever. Yeah, I'll just pick up a bass or, you know, sit at a keyboard or piano or whatever it is, whatever, you know, and then I'll just kind of start banging on it. Yeah.

And forget about any theory I know. I don't wanna even think about the key I'm in. I don't wanna think about any of the rules. It's just like, I wanna get back to what it was like, being four or five years old. I'm trying to get back to like the little kid of just reacting to the instrument and kind of hitting. And a lot of the notes when I'm doing that are sour they're wrong because I don't know where I'm going

yeah and it's kind of this thing that will create a safety probably and for the little kid that lives inside of my heart to come out and play yeah and so the room has to be safe like Like if people can hear it, like in the studio or my house or whatever, if I know that somebody is on the other wall and can hear what I'm doing, I'm fucked. It sucks. It's like, and so when it feels safe,

and when the door's closed and nobody can hear you. You can make all the mistakes you want. And that's where the gold is. That's where you find stuff that's weird. That's like, something will come out. That surprises is. That's where you find stuff that's weird. That's like something will come out. That surprises you. That surprises you. And that's what I'm always looking for.

And usually, you know, when I sit down to write a song, that doesn't happen. You know, it's like one out of every, I don't know, could be every five. One out of every five to ten know could be every five and one out every five to ten ideas something good will happen yeah the rest of it I have enough craft that the song will still sound good I can craft a sure but I'm not bringing the critic that the critic has nothing to do with the magic right spark the critic has to do with how to contextualize it later for an audience right you know and I mean you're talking about your internal credit. My internal critic.

Yeah, yeah. No, I get that. I call it my friend as a critic. I'm like, come on over. Listen, what do you think of this? I'm embarrassed if my wife hears it, but you can hear. I know, I know exactly what you mean. Yeah, so it's kind of like, but that took a long time to get the balance of that right.

Yeah. Because there's been times where the critic's just on my shoulder from the beginning. Shutting you down. the balance of that right. Yeah. Because there's been times where the critics just on my shoulder from the beginning. Shutting you down. Oh, shutting me down. And then, you know, it's like, oh, this is what writer's block is. And that's a real life's work too. That's like something that,

if there's people that can turn that critic off, who, you know, are creative for a living, they're superheroes because it takes forever to get on top of that guy. And even then, that guy has really good days. Like that motherfucker can kick your ass some days, even after coping with them for years and years. Ellie, I'm speaking from my experience.

100%. Yeah, experience. 100%. Yeah, yeah. 100%. Yeah, and it's funny too because when you get around those artists that have been doing it for a long time, when I was younger and I would see, you see certain artists where they're just, they're always playful.

Yeah. They're always light and playful and you're like, huh, it's weird. Yeah. Like they're not that serious. Right, right. Like they don't really care that much about their craft you're like, huh, it's weird. They're not that serious. They don't really care that much about their craft anymore. You know what I mean? Maybe at one point they were serious.

They treated this really seriously. And then the older that I get, I'm like, no, no, no, no. That's the shit. That's what you want. Because you're closer to how you were when you were a kid. All the time. Maintaining that playfulness and that sense of it's like it ushers

in an environment of freedom to where the little kid can come out and do the magic. Yeah. Yeah. Yeah. Can't you tell my love's a crow? Yeah, no, I know exactly what you mean. That flow state, you know, it's, it is, it's really

hard to achieve and hard to maintain and kind of takes, it's one of those kind of zen conundrums too. It's like, you kind of have to be a dick about protecting your ability to be a baby, you know what? Like to be a child. Like you kind of have to, you know, there has to be a parent you that's like, I got to protect myself from the world so that I could be a child again, you know? Oh yeah. Yeah. Oh yeah, for sure.

I had to get used to it with, with my wife when she had to get used to my process. Yeah. When I was, you know, working from home and she would come in with a plate full of food that she made, which was, this is, this is like some master level, like creative, like how do I navigate this? Because she's coming in with something so good

that she cared about and made for me because she knows that I'm hungry and haven't eaten in hours. It's the sweetest thing ever. And internally I'm just like, don't come in here when that door is fucking shut. All right? Does she know that now? You didn't knock. Does she know that now? When I'm in here, I'm just like, don't come in here when that door is fucking shut, all right? Does she know that now?

You didn't knock. Does she know that now? When I'm in here, I'm working. But God, these eggs are good. What did you do with them? You made a perfect omelet. God, you're the sweet, you're the best. And for people that don't know, you're married to the actress,

the incredibly talented actress, Julia Gardner, which I didn't realize that until I read about it, but I'm a, you know, ever since The Americans, she's so good. And so it, you at least kind of have to understand each other's, that there's a process and that there's like something that you're both protective of.

She gets it, she gets it. But it's funny, it's funny because acting, I feel like in some ways is so serious, it's just, it's different. It's like prepping for acting, you go to a set, it's like very serious. Obviously there's like a hundred people that have to get their jobs right

in order for something to actually look good on screen. And a lot of my friends that are actors, and obviously my wife is an actress, when they look at music, they're like, oh, your job's the most fun. Like, you just get to have fun. Like, they look at me like I'm just like fucking off. You know what I mean?

Like, look, do you just get to play music? And so when I'm writing music, I think that that, yeah, I had to kind of explain to her like, yeah,, no it is fun, but it's really hard. Yeah, yeah. And I don't have a producer or a director telling me when to show up for work. So if I don't do this, nothing comes out. And trust me, I just want to hang out and eat your omelet with you in the kitchen. I don't want to be in here right now,

grinding through a song problem. But yeah, now she, now it's good. But it took a second. Yeah. And you guys got married in 2019, so like you got married and then had a pandemic to sit through. Yeah, our wedding was a super spreader event. You guys are responsible.

We got married in New York, December 27th. Oh, wow. Oh, 2018 or 2019? 2019. Okay. It was like the last big party of the year for us and our families. Yeah, because it was like February, I think,

is when I was really like, oh, I better go get some toilet paper because I'm not leaving the house for a few days. I did the same thing. Yeah. Oh my God. Yeah, I was like, I have no food. I like left rehearsal.

We were supposed to go on tour and we had been in rehearsals for like a week and a half getting ready to leave for the year. And basically the word came down that it was going down and it was like Friday. I remember leaving rehearsal early. I remember stopping rehearsal because we were leaving for Mexico.

It was Friday, we were leaving for Mexico on Sunday to play Monday. And I was like, this tour is not going to happen. I'm calling it right now. Let's leave rehearsal. Like I need to get food. And just went straight to the grocery store. And was it your call?

Was it your call? I just knew. Ultimately? Well, no, I would have gone, if it would have been Greenlit, we would have gone. Right. But I just knew. But you just knew, there's no way.

I was like, this is getting shut. You just feel it. I was supposed to do a game show, and I was booked to do a game show, and I just was like, yeah, they expect me to go and do it, and I kind of feel like it's unsafe, and then it was like, my manager gets back like, oh yeah, yeah, you're not to go and do it. And I kind of feel like it's unsafe. And then it was like, my manager, you know,

gets back like, oh yeah, yeah, you're not doing a fucking game show. So yeah, I can understand. Yeah. Yeah. So you just went and got food and went home and? Went and got food, went home. And Julia at the time was working in New York.

She was in Brooklyn basically filming 15 hours a day in a subway station during the initial breakout. Yeah, yeah. So she's either safe or in a Petri dish. Yeah, I think it was like the latter, you know? It was like she was in Brooklyn which got hit super hard first, but then eventually the production got shut down or paused for a long, long period of time and she came home and so this is-

How was she able, she just was able to get on a plane and come home? Yeah, I think, you know, she just, at that point it was kind of almost like gas mask. Like people were just in full Aztmat suits traveling, you know, cause nobody really knew what it was, which is so weird to think about. Absolutely.

And still, and I know that it's like, people are tired of talking about it, but we're not done processing it. No. Like, I'm really happy we're talking about it just that period of time, because I'm still bouncing, I'm still kind of like, my social atrophy is just now coming back online.

But so she came home and we had, the silver lining was that we got to be newlyweds kind of at home with no work. Yeah. And so. That's what I was gonna say. I bet it was kind of romantic. It was really sweet.

It was like us and our dog. Because it was months then I imagine. Yeah. Kind of just got to hunker down and yeah. Yeah, for like seven, eight months, we got to just like, you know, she was cooking, like I was eating. Yeah.

Um, you know, we made like, we got into gardening together. Yeah. So just going up to Lowe's like four days a week. Yeah, yeah. I was like, you want to go back to Lowe's and look in the, you know, she's like, yes. And we're just like in Lowe's,

just like walking around buying flour. Like, these are nice, let's plant, oh, they need full sun. Okay, yeah, no, we know the spot for these. Let's get some of these and plant. You know, it was great. That's great. Yeah, yeah. When you were a kid and you started,

because you were into music at an early age, I mean you were like in a kid's chorus, is that right? Yeah. Yeah, like in Cleveland. Yeah. And you were a multi-instrumentalist back then. Were you writing songs back then too, and was that something that you knew

was kinda in your future? It's funny, like the early days, when I was singing for the Cleveland Orchestra Children's Choir, I was like 10 when I auditioned for that. And my first grade music teacher, Mrs. Seador, basically every school in Northeast Ohio could pick two kids to audition every year for the choir. My first grade music teacher, Mrs. Seador, God bless her, like she was like, you know what Mark, like I want you to go do this. I didn't even know it existed, you know. I was a little kid. Right, right, of course. And I'd never done anything professionally like

that or, you know, been a part of like a serious organization and I went and auditioned and I got in and it changed my life because, I mean, for a multitude of reasons. One, singing with like 80 or 90 other kids, these like beautifully written classical songs that I'd never been exposed to that, you know? It's gotta be an amazing feeling. I think I grew up very working class. You know, it was like that.

To be even around that, like I'd never gone and seen an orchestra play until we played with the Cleveland Orchestra on stage for the first time. You know, and I'll never forget walking up in that year, that first year, I think it was, um, because we would do these Christmas shows with them. It would be like five shows. I'll never forget walking up. In that year, that first year, I think it was, cause we would do these Christmas shows with them. It'd be like five shows.

So some of it was like Christmas themed. And then sometimes we would do a show in the spring. But I remember that first year it was, they did the Tchaikovsky, the Nutcracker Suite as a kid, you know, which like, the dun dun dun dun dun dun dun dun dun dun. like the Nutcracker Suite as a kid, you know, which like, the dun dun dun dun dun dun dun dun.

You know, it's like everybody knows that song, but I never knew what that instrument, that instrument, like what is that magical instrument that's playing that main line? And I just remember being a little kid looking at the stage and looking for that instrument, that dreamy instrument, you know, that now I'm like, oh, okay,

it's like a cheleste. As a kid, I'm like, wait, it sounds like a piano, but it doesn't sound like a piano. What is that? You know, being like nine years old. And so I would look around and see the bassoon player play a bassoon and started to connect visually what those instruments sounded like.

And so probably the earliest songwriting, I mean, when I would go home at night, during that period of time, I would just kind of daydream. And classical music, I would start kind of writing classical, having classical instruments kind of talk with each other in my head.

I didn't know what it was. It was just really fun. It was almost like a fun meditation. I couldn't remember any of the melodies. I didn't know how to was. It was just really fun. It was almost like a fun meditation. Yeah, yeah. I couldn't remember any of the melodies. I didn't know how to notate or anything like that. But it was. You were just hearing it. But that was, yeah, I was just hearing it.

And I would just kind of lay in bed and I would think about it and kind of compose these, you know, whatever moving kind of symphonies. And, but it was probably, and then, and then at like 12 years old, 11, maybe 11 years old, it's when the Rock and Roll Hall of Fame opened and I went there with my dad. And they have these computers there that kind of show you the etymology of like artists,

like you click on, you know, Nirvana, and then they would have like a family tree of like what inspired what influenced them. It would be like, you know, like mud honey or, you know, and then going back to like, you know, I don't know, Lead Belly or something, right? You know, so you kind of like trace and, you know, the origin of music. Influence flowchart. Yeah.

And that was the first time I heard Smells Like Teen Spirit, which clicked something on. Oh, wow. And I told my dad, I went home and I sat at the piano and I figured it out by ear just from memory, because I listened to it like 30 times in a row at that computer. I just didn't leave it, had headphones on

and I read the bio and it was like probably the year after Kurt died. And that also was like shocking, you know, it was kind of like, oh my God, this guy, this music's so amazing, this guy killed himself. It was like this, for an 11 year old, it was kind of, it was just like really moving and kind of fascinating and dangerous.

And I just kind of, I just felt something. So I went home and I figured it out on piano And I was like dad I was like I you know I figured out smells like teen spirit on piano But it doesn't feel right Like I don't understand how come it doesn't feel right doesn't feel like the song and he's like that songs on guitar and I was like oh Yeah, it's just like, oh, a guitar feels very different. It's a different mood.

Right, right, right. It's like, and I was like, well, I need to learn how to play guitar. And so I got, I started playing guitar that week. To like, dad, I need a guitar. Yeah. Go get me a guitar, quickly. And that was probably, yeah, that was kind of like

the next phase of music was kind of the grunge thing. Yeah. You know, the- Yeah, fuck this classical shit. Yeah, yeah, basically. Let's rock. Yeah, yeah, yeah. It was that pivot for sure.

And that's kind of when I started to write, actually try to write songs. Yeah. And when did you, would you share them with your family or were they still kind of like private for a long, long time? Good question. They were kind of probably a mixture.

I mean, they were, I was writing pretty dark shit as a 12 year old. You know what I mean? So I was like, kind of that age. I just was talking to somebody the other day in film school, every film that you watch in the first film school class is suicide. It's just like, to the point where it gets funny.

It's like, Jesus, another one, another one, a suicide film. And I just think that's when you're a kid and you're like, I'm going to do some art and it's going to be serious. I'm going to pour my heart out. And then it just, just like doom and gloom, you know? I mean, I know that's like when I got to college and started doing creative writing, which I, you know, like I would write things, but not really seriously to like, to like have something to be done. And all the shit I wrote was just so fucking like, Oh, I'm sad.

You know, and it was like, it just was, you know, yeah, but I even, I even reached a point where I was like, yeah, I gotta lighten up, you know? Yeah, for sure. And I kind of, same. But I also think that, yeah, what is that? I wonder if it's just, because I also think that that's like what art is for, you know? Especially when you're a kid and you have these feelings and you don't really know what to do with them and like and then it's

Just like you've got this channel now to express this stuff that is safe Yeah, and that's what it's for. It's okay to express anything in art and And maybe it's just like exploring some of those scarier emotions Yeah, just to kind of know yourself and to get comfortable with yourself. Right, right. I think also too, there's just, you feel this pressure that you're putting on yourself to like, I have to do something profound.

I'm not just gonna like write, you know, rock and robin. You know, I'm like, I have to spill my guts. You know? Uh, so. I love that you just have to spill my guts. You know? Uh, so. I love that you just said rockin' robin. You know what it is like? The first thing that popped into your head. Because tweedle-deedle-deedle, tweedle-deedle-deedle.

You know, that's like, that's the opposite of like, what you start out writing, you know? Yeah. Oh my God. Yeah. If your first song is rockin' robin. Rockin' robin. Your life is gonna be amazing. You came to LA for music college, like your own self-taught music college, right?

Yeah, sure. Yeah. And were your folks okay with that? Were they like, all right, cause you came out here and you live with your uncle, right, is that it? Yeah. Yeah.

And they were like, all right, go out there and see what you can do. This actually kind of oddly relates to you. Oh, well. Yeah, because when I was in high school, I would stay up and I would watch your show. Okay. And I would not get any sleep for the school the next day. So I would get up at like 6 a.m. and go to school and sleep through the first few periods. And so it got to a point to where I was like,

I was like, I don't want to go to college. I'm not going to get into a good one. I had like a 1.8 GPA. And I was talking to my dad. A lot of my friends had their futures figured out. And either going to college or whatever. And at that time, there were like military recruits basically coming to our school every year. Of course.

Yeah, Ohio is a good place to recruit kids for the military. In Illinois, every time there was any kind of gathering, there were a couple tables of Marines and Air Force and Army people, yeah. Yeah, yeah. And so they were, you know, and so I had a few friends that were kind of signing up and I didn't know, I didn't know. I never grew up wanting to be a professional musician. That was never my dream. I just, no, I never thought about it, I never considered it, you know? It was like, I didn't even think that it was,

it was never even a possibility. It was never a dream. It was like being in a suburb of Ohio or whatever, it's like, that's just not what you do. And so I basically took my ASVAP test. I was meeting with the recruiter. I was going to join the military. Oh, wow.

Narrowed it down, kind of met with the Air Force and the Marines, picked out a job at the Air Force that sounded interesting. What was it called? It was a geophysicist, which at 17, I didn't even know what that was. Yeah, yeah. But it had like, it came with like level one

security clearance, which sounded fucking cool. And. All right. Yeah, and I, so they were calling my house every day and they were kind of like, you know, putting pressure on with like a signing bonus of like 10 grand. Like a 17 year old. Because that's a lot of money. Oh my god.

You're just like, wow, okay. And then eventually, and then I'll get to go to college for free later and like all these perks and I'll learn some, you know, skills and some discipline and whatever. But I'm going to have to sign away my next four years. Yeah. And so one morning I woke up, it was a Saturday morning, I remember very clearly. I came down, I was talking to my dad, and I was just pretty just kind of tortured internally. I was like, dad, what am I going to do with my life?

I was like, all, what am I going to do with my life? I was like, all my friends, you know, they would go to college. And I was also doing a lot of photography at the time in school and won some awards for it and stuff. And I loved graphic arts. And so I was kind of, I was like, I can go to college or I could do this photography thing and try that. Or I can, you know, join the Air Force. And I was like, but I just, I don't know.

It's just like, none of it feels, I just don't know what to do. And he looked at me and he goes, Mark, why don't you go to LA or New York and pursue music? Just like that. Just said it to me. And I was just kind of like taken back and I had never considered it before. But when he said that it was like a light bulb

went off, I just felt it in my body. I was like, oh, that's exactly what I'm supposed to do. And then he was just like, you know what? You know, after a year, you'll know if you like, want to stay and keep doing it or if you have what it takes. Got the stomach for it basically.

Yeah, yeah and and you'll you'll still be young enough if you want to go to college or you want to join the military you can. Yeah. Just go try it and which kind of to me was almost not and then finding out more about his story later it was like it was his way of correcting almost his conversation with his father when he was a kid. Oh, wow. Because when he was a kid, he won some, in first grade, they had some art competition. Yeah. And he won for drawing. And his teacher, you know, pulled his parents aside and said, you know, Daniel's got a, you know, he's an artist.

Yeah. And he remembers his dad being like, you'll never make any money doing that. Yeah. And it stuck with him as a kid. And so he went to like, you know, Indiana University for business school, got a business degree and kind of took that route

until, and he started painting again when he retired like 15 years ago. Yeah, yeah. But I think for him, it was almost a way of like, giving me the conversation that probably he wanted as a kid. And yeah, it changed my life. That is wonderful parenting right there, especially. And that's also like, that's when you're young,

and it's maddening to you as a kid sometimes, like that your parents can look at you and go like, I know what's going on probably a little better than what you know what's going on. And he probably was watching you make music, be in bands, you know, from beginning in that chorus and was like, well, this is where this kid lives. And, you know, and like you said, you didn't, it wasn't in the realm of possibility, but he was like, yeah, go do that.

And also too, probably when you can write a wrong that was done to you through your children, it's pretty great. It's, you know, it is like, it's not exactly fixing it, but it's close to fixing it, you know? So that's, I mean, good on him. That's really wonderful that he was able to do that for you. Yeah, and it's weird because when I,

the older that I've gotten and when I reflect on that, I'm just like, God, how brave was that on his part to say that and to encourage that. I was a baby. Yeah. I just turned 18 or I was, I hadn't even turned 18 when he said it. Wow.

You know, I was 17 and I remember it was fall. When I was 17, it was probably, it was like August and the reason I remember that because I even considering joining the military was because it was a month, a month later, September 11th happened. Oh wow. And so, and I was, you know, going to sign

up and everything we were at the, we were in peace. It was like, I'm going to go, right. Right. Right. Right. Get a cool, get a cool uniform, you know, run around.

Find out some clear, you know, cool secrets. Yeah. Yeah, yeah, yeah. Yeah, and then, you know, my friends that did sign up during that time, they got shipped out. Oh. Yeah. Yeah, yeah.

You know, one of them won a Purple Heart and got shot in Iraq and, you know, it's just kind of crazy. So what a wild, I just think about that conversation of just kind of just, you know, I mean, who knows, who knows what the other lanes would, how they would have played out, but yeah. So I graduated high school, I moved out to LA, and then it was basically the next two years were struggle.

Yeah. Heavy struggle, but also fun. When you get out here to try to make it in the music business, what is like, when you get here, what do you do? That is the most, that is the trickiest question. Yeah, I really, what do you, answer wannabes or, you know, Dude.

Go hang out at the rainbow or, you know. Yeah, it's like, that is or, you know, go hang out at the Rainbow or, you know. Yeah, it's like that is the, you know, I think, yeah, probably going to shows to kind of try to be a part of the culture. Yeah. Meet people, like just talk with other like-minded musicians that are kind of all doing the same thing and you kind of, you make friends, you learn, you get inspired.

Like for me, a lot of it was just writing. I came as a songwriter or a budding songwriter. So I was writing songs every day and just trying to get better as a songwriter. And a lot of the songs that I wrote back then were, nobody will ever hear because they're like, I wouldn't play them for anybody. They're embarrassing, but they were they were the

foundational songs that got me to a place to when things started to click but yeah I've talked to I've ever I've gone to USC and I've talked to just as like a guest to talk to some of the students and I love it because I think like the early being an artist it's and it's such a paradox and I think it because I think like the early, being an artist, it's, and it's such a paradox. And I think it's actually like part of the gatekeeping process. It's almost like the first beast you have to slay, which is how do you even get a manager or an agent? How do you even get, how do you do something that people will notice to, if you don't have the resources or the money to pay for something that's going to sound good or have quality or because it's like it's everything.

You kind of have to, in the beginning, you have to kind of be your own manager, your own agent, your own writer, your own PR. You have to learn every part of that unless you get really lucky. But then even then it's like if you're a child star, are you lucky? Yeah, absolutely. Like, is that not maybe the worst thing that could happen to you? It's like, get famous when your prefrontal cortex is still developing? Yeah, no, I mean, I know some well-rounded, okay, put-together people who were actors

when they were working actors and they were children. But not that many, you know? Yeah, same. I know, I know. I think the fucking wrecks are more prevalent, you know? I can't, yeah. So your brain's still developing. And fame is a, it's a very dangerous, intoxicating beast.

Fame and addiction. Yeah. And, you know, how those two things, because it's like when you're, if you're uncomfortable in your own skin, what's so weird is that I feel like as kids, artists, if you're a performer, a lot of times that comes from some sort of trauma when you're young and you don't feel seen.

Yeah, yeah. And so you're kind of like, well, I wanna be seen, I wanna be loved. Yeah. And so you're like, hey, look at me, look at what I can do. And then sometimes the deeper that go, that trauma goes or that sense of wanting to be loved goes,

a lot of those people end up becoming the biggest stars. Yeah. They become, they're the funniest, they're the most creative, they're the most uninhibited, they're the most, they work really hard and stay focused on, you know, whatever their craft is because that represents their access to being, feeling loved. Yeah.

Right? But then it's like you grow up as an adult and if you still have that uncomfortability and still need that thing, it's like that is a hole that can never be filled because a crowd's validation, it's flippant. If you have a failure, if you have a flop, all of a sudden, the source of love that you were getting becomes a source of shame. Yeah. And also that kind of adoration is junk food.

It's not the adoration of a real person that's going to be there and love you and stick with you. The approval of a crowd is intoxicating, but it doesn't last. It's not gonna keep you warm when you're old and cold. You know? Yeah. So yeah, it's rough. It's tough.

And especially if you've got, like you said, if you come into that process needy, it's gonna be a problem probably. And I mean, and most everybody that does it is needy in some way, you know? Well, and it's like one of the other paradoxes that I think about in art, which is that, because a lot of that stuff is like,

basically almost comes from either, it can be narcissism or it can be a narcissistic wound. Yeah. It can look like that, where it's just like wanting to, you know, be seen and be loved and show people that you're special, but comes from like a deep sense of insecurity. That's like feeling, you know,

it's like the paradox of that. So like art can look like that, but then transmuted in a healthy way, it's actually the most altruistic thing where you are, it's an act of service and you're showing up and being like, I'm going to share myself with you, with an audience and I'm gonna let go of the results.

I'm just, I'm going to give you who I am my best and it doesn't really matter if you like it, if you don't like it, it's okay. I liked making it and I'm gonna share it with you. Yeah, yeah. And it's been a journey for me, definitely to kind of go through those things with my own struggles with addiction. And the first couple years of being in LA,

I mean, I was doing, I was definitely doing drugs in Ohio. Well, I mean, it's Ohio. Yeah. You gotta get, you gotta get through it somehow. But yeah, the first, first couple of years of, of in LA, it was pretty dark. Yeah. Very dark.

And I don't know how dark you want this podcast to be, but, um, I don't, yeah, I don't, I don't, you know, I, I, yeah, it's, but you know what? It's also part of growing up. Yeah. And, and I think. Especially, I mean, I feel like college for me was, was learning how to like just the bumpy on ramp to adulthood, Learning how to like just the bumpy on ramp to adulthood,

which and getting out of a safe environment. And then also like how much partying I could do. Like how much alcohol can I take? What kind of drugs work for me? And it wasn't until I was like ready to get out of college, I distinctly had the feeling when I was getting out of college, I kind of feel like I was ready to get out of college, I distinctly had the feeling when I was getting out of college, I kind of feel like I'm ready to learn something. But for me, like I said,

it was about having fun and partying and that's a natural thing. And then you were doing it outside of school at 17 in Los Angeles by yourself. So yeah, of course, that's probably gonna be something that happens. Sure.

And it's great that you came out the other end of it. Yeah, for sure. And yeah, I have a lot of friends that didn't. But yeah, that's also the entertainment industry too. And that's something that as a musician, it's funny because my actor friends, they get caught in a scandal or drinking or whatever, doing whatever, acting like an idiot.

That like, they are dragged through the mud. They lose everything. Especially now, like the days of the bad boys of acting, the old generation, like Nicholson, and just that whole, the Brando, that whole era is over now. But as a musician, I could set myself on fire and run down the street naked.

And it could be headline news, and we will sell more records. Yeah, yeah. Like it's a big- Cool. Yeah, it's just like, oh, that guy really is the real deal. Like with music and so there's just kind of a different standard of what you can kind of do or get away with. And so kind of coming up in the music scene, I think it was kind of like, well, all of my heroes acted, you know, it's like the Jim Morrisons,

they're like, you know, they were the kind of provocateurs. And, and, but that's also why a lot of them died. Yeah. Because at the end of the day, nobody's invincible. You can act larger than life, but it's like... And so it's insidious in that way where you can hide in entertainment if you're talented. People don't really want, they won't call you out

or they won't necessarily help you, but they're afraid to help you. Yeah, yeah. But also you're kind of celebrated as this other, this thing that's not necessarily a person, like you're kind of objectified. And yeah, it's a tricky, it's a weird one, isn't it? Absolutely. Yeah, no, there's plenty of people

who are willing to just kind of go along with whatever you're doing to just keep, you know, like you're a vending machine that just keeps spitting stuff out for them. And I've always felt one of my first showbiz lessons was if people stop telling you no, like if you're just surrounded by people who when you say like, I wanna do this, and they go, great idea, yes, let's make that happen,

without telling you occasionally, that's a terrible idea. What the fuck are you talking about? Don't do that. Unless you have a really strong character, it is really easy to become an asshole of some variety, because it's just, I'm right all the time? Well, look at this, I'm right all the time? Well, look at this, I'm right all the time. And you have to really push back and have the strength to say like,

no one's right all the time. I can't be right all the time. I, you know, and then to, and then, you know, the key becomes seeking out people that help you keep your feet on the ground, you know, and not, and aren't just kind of there to be like, whatever you say, boss, you know, just give me the check. So yeah, I want to talk about the new album, because there was a seven year break there between albums. And we just were like, not feeling it, didn't have anything to say. Well, I mean, it's, I don't mean to be flipped, but it is kind of like, yeah, well why, you know, it, you're, you're not, you're not baking pies.

You know what I mean? It's like, I was baking pies. All right. All right. Take that back. You were baking pies, but you know what I mean? It's like, you got it. An album isn't just, you know, it's not like a chair that you build.

It's like a painting or a poem, you know? Yeah, well, I mean, I guess it kind of ties into what I was talking about with getting healthy. Yeah. You know? And I got to a point kind of at the end of 2018 where I decided I needed to get sober again. Yeah. And luckily I did kind of by the skin of my teeth. You know and so I took

a year off of touring. We'd been touring for you know kind of a lot for years and and I stayed home because yeah I just because I needed a break from it because music was the biggest trigger for me. And then I fell in love and then we got married and then the pandemic hit because we were supposed to go out in 2020 with we'd made an EP. And so then it was kind of like... And was that supposed to be like your toe back dipping your toe back in the water of it? Yeah. Yeah, exactly. Yep. And so it was kind of like forced downtime and then you know I

just got to a point to where kind of throughout that period it just got so... I was always... I'm always writing songs. Mm-hmm. I have like a hard drives full of music. So as I never stopped making music. Yeah. But in terms of actually putting myself back out there into the world again, it was kind of one of those things where it's like, you know what, I really had to think long and hard if I wanted to do that again in that way, because it was, I was so uncomfortable in my own skin. And music, like kind of being on tour and being out,

I just didn't really know how to do it and stay sober. Yeah. Even if I could do it for a while, it was at some point, there was, you know, something would, I would get really isolated and really uncomfortable. And so I got to a point to where it's just like, I'm going to, if I stay home, if that means I'm just home and I don't do this anymore, and that's how I stay healthy

for the rest of my life, then that's what I'm gonna do. You know, and it's kind of, but the good news is, is that after a few years of doing kind of some real deep diving and therapy and all sorts of work, I just feel like a different guy. I'm a different guy now. And so this is kind of like me stepping out. I'm kind of new. I'm open to whatever this new experience is now. But I feel like a different person. You know? Yeah. What was going through your mind

if you, when you say you weren't gonna do this anymore, did you have an alternate plan or was that part of why you were sort of I mean, well, Conquering the unconscious, you weren't sure. Here's like a funny thing about entertainment. I don't know if you've ever felt like this, that like, you know, when you're, when you become successful

in something that you grew up loving. Yeah. Um, if, if, if there comes a point when it's not fun anymore, it's super isolating because everybody around you is just like, you made it. Yeah. Like, oh my God, your life is amazing. And you're so lucky. Like you're so lucky.

Look at the grateful and all that stuff. And, and it's just like, well, yeah, of course. Yes, I am lucky. I am're so lucky. Look at you. Aren't you grateful? And yeah. All that stuff. And it's just like well yeah of course yes I am lucky. I am grateful. Yeah. I do. But then but but but then there's that side where you're just like am I broken? That I that I can't just be happy. Yeah. Doing this. I don't like this. It's really weird you know. It can feel really weird and so um but for me it's like I've kind of always looked at, and that's funny to me, because I've never really looked at it like that. I've never been like, I'm going to do music forever.

Right. Like to me, I'm like, I've got a limited amount of time on earth to experience everything there is to experience that I want to experience. And I'm not going to be able to do all that from the inside of a tour bus. Yeah. Like, you know, if I want to like go do something like, like this is, it's my life. Yeah. I can, there's a lot of things that would be some of my, you know, favorite times

were just hanging with Julia and our dog, you know, uh, just doing nothing. Going to Lowe's. Yeah. Going to Lowe's seriously, like just having a simple life. Like there's beauty in that. Sure is. Yeah, and so it was kind of what, you know, around that time,

around the pandemic, I started screenwriting a bit, which was something that I'd always wanted to do. So that was like a fun thing. Yeah. A new thing, you know? Yeah, there were, yeah, I don't know. But then I fell in love with music again. And that's another thing that I've kind of felt

that's happened multiple times throughout my life. Where it's like, I don't know, do you feel like this way with comedy where you'll kind of be like, yeah, yeah, okay, I understand, I know what all this is, da, da, da, da, da. And then you're kind of like, maybe you take it for granted or you take, I don't know, just kind of wondering if you relate to this

and then something clicks and then you see it on a deeper light and you fall back in love with it. Yeah, yeah, definitely. Because there's, you know, I mean, like I told you, I make a living and I'm lucky in that I can make a living kind of in this same neighborhood of stuff, but I can do it in different ways. I've hosted game shows, I do voiceovers, you know, I can write, I can, you know, I produced a late night talk show, you know, I was one of the people producing a late night talk show for years and years.

But at some times, all of those things, and a lot of the stuff you do, you're not doing it because you love it. You're doing it because I got bills and they gave me this job doing this thing. And yeah, it's not my dreams, my heart's dream. It's just, it's a job. And I think there's something really good about that, really grounding about that, to not get so far up your own ass

that you think you can't go and sell hot dogs because you need some money. And it's hot dogs. I mean, directing TV commercials for me is like a game show. It's like, there's a time constraint. You gotta get this much stuff done. Uh-oh, this went wrong. Well, let's pivot this way. You know, it's all just, it's like a puzzle.

And it's exciting and it's fun. And it reminds me when I, you know, cause there's plenty of times where I'm like, oh, this is fucking, do I wanna do this? And you're like, this is just, it's, you know. Yeah, it's work. And there's tons of- Sure, sometimes it's just work. Tons and tons of rejection.

And if you just let it, this business can make you feel like absolute shit about yourself. Yeah. Absolute shit. Like just that you are a worthless piece of garbage, you know? And you gotta fucking like be like, all right, I'm not a piece of garbage, you know, but I'm just gonna kind of plow through so yeah, it's Yeah, I get it. It's it's really fun to make things and then to like and not to be your job

Yeah, you know and that's when the child gets to play. Yeah, yeah, exactly. When the kid is, it's like Joe Cocker has a quote about that. He's like, I don't get paid for the hour I'm on stage. And he's like, I get paid for the 23 hours I'm in transit. Yeah. You know? Yeah, yeah, yeah.

And it's like, yeah. Yeah. Yeah. So over kind of, yeah, the space of the pandemic, I fell back in love with music and basically made this record. Yeah. It was a mountain. It was a mountain to get there.

Yeah. It was probably, it was a very, just I'm wrestling with myself really, making this album. There were times throughout because we'd finished our deal with Sony. And so I was kind of doing this independently, made this record out of pocket without a label, kept it very insular with just artists,

just like guys in the band, other musician friends that played on the record, but kept it like very, very tight. Yeah. And learned the most, I think I've ever learned making any other record. Yeah. Making this one because there wasn't a safety net,

there wasn't a producer. Yeah. I mean, I did some songs in London with Paul Epworth who's an incredible producer. But in terms of the bulk of the record, I was kind of the guy that I was having to oversee everything. It's the first one you've produced yourself. Fully produced, yeah.

Yeah. And then my bandmate, Isim, we produced some songs together. Oh, nice. And he's an amazing producer too. So it wasn't alone. Yeah. I had friends around and great engineers. And it was kind of, but in terms of like the final,

the instinct on where things were going, like that buck stopped with me. And I, and the pressure of that, of not having a safety net was an interesting feeling to kind of take on. Yeah. Yeah, it was like, it does, I mean, from what I've read about it, it seems like you kind of forced yourself

to just go in a studio and then you discovered what the album was because you forced yourself to go there and do it. Yeah. Yeah. 100%. Yeah. And that was kind of a huge lesson that I learned from this too, which was just like,

I could think about and conceptualize a record forever. Yeah. But it's just like booking the room, showing up with gear, sitting there for 12 to 15 hours a day just making music, me like, I'm here to make something. Right. Things got done, you know? Like all of a sudden, you know, after a couple months we had a record and it was kind of like, you know what, I don't have to really overthink it. It's like maybe just show up. Right. And just start. Well, it's, I got to hear overthink it. It's like maybe just show up and just start. Well, I got to hear some of it. It's called Paradise State of Mind.

It's coming out on August 16th. And I could hear some of it. And as my wife will say, it's full of bangers. It's really, really good. I really, really liked it. Yeah. Thank you. It's really, and it has, it has like a really, you know,

I had to say retro feel, you know, but I mean, it just sounds like classic music, like classic dance music and classic kind of overlap of funk and, you know, synth and, you know, like craft work and chic, you know? I mean, it's... Yeah, yeah. Thank you. It's really, really fun. It was fun to make. Yeah. Are you touring now to support it or...?

Yeah, we'll do some shows in August. Our first real show is ACL. So that's in October. It's a festival in Austin. And then basically, kind of, yeah, I think next year we'll be gone. We'll be on tour pretty much. We'll go everywhere. We'll do the whole thing.

And are you looking forward to that happily now or? Yeah, I am. I think it's like kind of what we've been talking about. I'm ready to connect with people in a new way. I've never been this clear in my life and present. And so it's like, I think getting to play music, and especially now, I mean, it was making a record, a joyful record felt important right now.

Right. Because the world's just felt, it's just a lot of fear everywhere. Yeah, I know, I don't, I remember, I read something where it was kind of like you were like, I don't know if it was exact this, but it was sort of the idea that making something joyful is almost like an act of defiance now.

You know, it's true. It is like, it's real fucking scary. And to say like, be happy, enjoy things, look at the small things and, you know, get sustenance from them is, it does seem like it's against the grain of the way the world feels. Yeah. And I think, yeah, I need it for me. Like I needed to make a joyful record so I felt better about things, you know? And I think like, yeah, and I think other people feel that way too.

So it's like, you know, music and comedy kind of like when we first started, it's like there are two things that can bring people together. Unify a room, you know, and then communicate something that can kind of penetrate the cerebral defense mechanisms of people and it just goes straight into their heart. And I'm excited to step out and play music because of that. It's just like, let's just bring people together. Let's dance.

Let's like be to you. Let's be kind. Like simple things, you know? They're like the preschool things. It's like, let's just, you know. Have fun. Yeah, totally. So.

Do you have like big future plans? Like, do you have like a set future that you see or do you sort of plan on more playing it by ear? Hmm. I, no, I kind of, I'm kind of playing it by ear. Yeah. Yeah. Well, it's interesting to me that you say,

yeah, music, I might not do that forever. Like that's, I like that. I like that you're open and being open is very important in life, generally speaking, I think, you know? Yeah. Yeah. Yeah, there's, yeah, why, I don't, yeah. It's like, I would be very happy, like I'm the kind of guy, if I have like a mattress and like a TV

and like a microwave, I'm good. Wow. Aim high, big guy. So like, you know. Oh, I know. I know. I would, I dream about being in like a tiny little one room cabin. My aunt and uncle, I'm their only relative that was out here. And they got old and they needed to go into assisted living. And it was on me to kind of make that happen. And I remember when I went to all kinds of different,

you know, I went out and shopped for assisted living facilities, which is really a lot of fun. And I'm kidding, it's not, it's awful. Because you just go and see old people warehouses, basically. But like the place that I found for them, when the woman was showing me like this little apartment, and it was like sunny and nice and you know kind of room, big enough for just like the chair you'd need to sit in and the bed that you'd sleep in,

and then downstairs was three meals a day and activities. And there was a part in it that was like, oh damn, this is nice. You know, like, this is... I wouldn't mind. I mean, I get it. It's kind of like prison, but still, it's so simple, you know? And so I understand, yeah.

There is that urge to just make it like, no, just, I don't need much, you know. Yeah. Yeah. Yeah, yeah. Like why? Like why not? Right. Why not? Yeah. You know? Yeah, so I, yeah, we'll see.

I don't know. I, I, I think I, after this latest kind of falling back in love with music again thing that happened a few years ago, there's a lot of music I want to make right now. So it's like usually when I finish a record and I'm getting ready to play that record, I kind of already start getting flashes of what the next record is going to sound like or what I want to make next. And like that's a good sign where I'm like, okay, like I'm, I'm excited right now. I want to keep going.

Yeah. Um, so I think that there will be more music coming out, but it's, uh, you know, but yeah, life is life is be like funny like that. It's like, just when you're open, like I want to be a dad. Yeah. You know, I would love to be a dad. Yeah. It's pretty good. It's good job. Yeah. Yeah. You know? Yeah. I would love to be a dad. Yeah.

It's pretty good. It's a good job. Yeah. Yeah. It's like, yeah. Yeah. Like, you don't have to do the dog and pony show if you don't want to. Like, once it stops being fun, you don't have to keep, you know what I mean?

But if you love it, keep doing it. Yeah. I agree. You mentioned that you sometimes go talk to groups of students and I'm wondering, is there like one piece of advice that you really like to get across to groups like that? Because they're obviously looking to you for some kind of, you know, like, give us a blueprint. How do we do this? I mean, I think it's like, find your identity of like, what makes you unique to not, to not basically chase trends or to try to figure out whatever's hot right now and adapt yourself to whatever that is.

Because over time, like that thing in you that you're, that you probably think is the weirdest or the most different is going to be the thing that people actually love and that they're attracted to and that they want more of. And so, um, that's part of it. The other part is like, you know, kind of what we we touched on, which is like, you have to be your own manager, your own agent, PR, all of those things, like learning the other parts of the

business, because it's not just being an art. I know a lot of artists that are pure artists. Yeah. And like, they don't understand business at all. Yeah. And so you, you better hope that they have like a good manager or agent that can help them navigate the sharks. Because they're very different things.

Very different things. But most artists I would say that are successful are like almost seem like they're 80% business, 20% artist. You know where it's like they know how to squeeze that little bit of talent they have, but they know how to contextualize it in a business way. And they crush it, you know? But the pure artists, a lot of times

end up kind of withering in a corner. But when they come to life, it's the most special thing to witness because it's just pure authenticity, no walls, no nothing. And so, yeah, when I talk to young people, it's kind of like, yeah, learning how to try to do both. Try to figure out, because they're two different things. Art and commerce are two different things. And they can be complementary.

Like, they're not, you know, it's okay to work within boundaries. It's okay to have pressure. Like I love deadlines. Yep. I need them. Oh, me too. Yeah. Yeah.

Well, Foster the People's next album, Paradise State of Mind. It's being released August 16th, 2024. Includes the singles Lost in Space and Take Me Back, and both of them fucking rock. And Mark Foster, thank you so much for spending this time with me. I really appreciate it. And thanks for having me.

And it's been a great conversation and good luck with the album and on the road, but I don't think you're gonna need luck with the album because it's really, it's a good one, so. And thank you so much. And thank- So good talking to you. It was, was thank you and thank all of you out there for listening I'll be back next week with more of this whatever this was The three questions with Andy Richter is a team cocoa production

It is produced by Sean Doherty and engineered by Rich Garcia additional engineering support by Eduardo Perez and Joanna Samuel Rich Garcia, additional engineering support by Eduardo Perez and Joanna Samuel, executive produced by Nick Leow, Adam Sachs and Jeff Ross, talent booking by Paula Davis, Gina Bautista with assistance from Maddy Ogden, researched by Alyssa Grahl. Don't forget to rate and review and subscribe to The Three Questions with Andy Richter wherever you get your podcasts. And do you have a favorite question you always like to ask people? Let us know in the review section.