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The Joe Rogan ExperienceThe Joe Rogan Experience

Joe Rogan Experience #2504 - Skylar Grey

Skylar Grey is a Grammy Award-nominated singer, songwriter, and producer. Her new album, “Wasted Potential,” is available now. https://empire.ffm.to/skylarcome https://www.youtube.com/@SkylarGrey https://www.skylargreymusic.com Perplexity: Download the app or ask Perplexity anything at https://pplx.ai/rogan. Get 30% off + 2 free gifts at https://ARMRA.com/rogan

Joe RoganhostSkylar Greyguest
May 22, 20261h 59mWatch on YouTube ↗

EVERY SPOKEN WORD

  1. 0:000:02

    Intro

    1. JR

      [upbeat music]

  2. 0:021:13

    Music that hits deep: funerals, “Coming Home,” and why human emotion matters

    1. JR

      Joe Rogan Podcast, check it out The Joe Rogan Experience. Train by day, Joe Rogan Podcast by night. All day. [upbeat music] Great to see you.

    2. SG

      Great to see you.

    3. JR

      What's happening?

    4. SG

      You know, putting out an album.

    5. JR

      So this is the, the power of music. Um, I told my wife that you were coming on, and she s- I don't wanna get emotional. She said if I die, on my funeral, I want her song I'm Coming Home.

    6. SG

      Really?

    7. JR

      Yeah.

    8. SG

      Oh, my God.

    9. JR

      I was like, "Ooh." I was like, "That's a heavy thought."

    10. SG

      Wow.

    11. JR

      And then I listened to it in the gym, and I was like, "God damn." I listened to the version where you were, um, on the piano. It was like a solo concert. And I was like, "God." That's such a... It's such a great song, but it's such a d- such a crazy thought-

    12. SG

      Yeah

    13. JR

      ... that someone would want-

    14. SG

      Wow

    15. JR

      ... a very specific-

    16. SG

      Crazy

    17. JR

      ... song.

    18. SG

      Man. [laughs]

    19. JR

      You know? It's heavy.

    20. SG

      Heavy way to start the podcast. [laughs]

    21. JR

      I know, but, but that's, uh, you know, that's the emotion of real music.

    22. SG

      Yeah.

    23. JR

      You know?

    24. SG

      Mm-hmm.

  3. 1:135:24

    AI songs, deepfakes, and the ‘blurry’ boundary between real and fake

    1. JR

      It's like you sent me a text message about, uh, AI, you know, because you sent me one of your songs.

    2. SG

      Mm-hmm.

    3. JR

      And you're like, "AI is never gonna recreate this."

    4. SG

      I said something like, "I don't think it's capable of writing stuff with this much emotion yet."

    5. JR

      Yeah. Well, it's not real, you know?

    6. SG

      Yeah.

    7. JR

      It sounds cool. That's what AI does. They, they... There's cool songs that come from AI. But there's always gonna be, and I completely agree with you, there's always gonna be a thing where you know a person wrote it, that they sat down and they wrote it, and there's this connection with their, their spirit and their creativity that comes out, and that's what people love about music-

    8. SG

      Yeah

    9. JR

      ... other than stuff that sound- I like, I like AI music 'cause it sounds cool, but I know what it is. I know it's just a robot.

    10. SG

      I mean, I think it's, you know, sometimes it's good for certain things, but the type of music that I make personally, um, it's, like, very therapeutic for me to write. I always am writing from, like, a true emotion, so, um, yeah, each, each type of-

    11. JR

      Marshall's giving me true emotion right now. [laughs]

    12. SG

      Yeah.

    13. JR

      Marshall's gonna be here with us

    14. SG

      It all has its place, though. I think AI is an interesting... It's just, like, another tool, I feel like. That, um, you know, when Auto-Tune first came out, people were bitching about that, and even, like, my first albums I recorded with my mom when I was a little kid, we did it on two-inch tape, you know? So there was no computer involved. So then computers got in- introduced, and people were bitching about that like, "This isn't real music."

    15. JR

      Yeah.

    16. SG

      You know? It's just, like, all these technological advances, to me, I see them as just tools that creatives can use to get their vision across.

    17. JR

      What was, uh, what was Peter Frampton using back in the day? It was, like, a tube or something, right?

    18. SG

      I have no idea.

    19. JR

      The... Y- Do you remember, like... Do you, you, you know what that stuff is, Jamie, right?

    20. SP

      Yeah, I'm pretty sure. I think it was, he had the Talk Box.

    21. JR

      It's, like, a tube you put in your mouth or something?

    22. SP

      Yeah, so it's, like, a straw, and, like, the microphone picks up the sound. So the sound would go through the tube into your mouth, and then the microphone picks that up, and you're using your mouth as the-

    23. JR

      'Cause I remember people hating that. Like, way back in the day, people were hating that like, "That's not his real voice." Like, "What is he doing-

    24. SG

      Yeah

    25. JR

      ... why is he putting it through that thing?" You know?

    26. SG

      I don't know.

    27. JR

      But there's always... I mean, look, there's always gonna be tools that people use to enhance creativity, but-

    28. SG

      Right

    29. JR

      ... the thing that's weird now is that they're making entire songs. Like, they can make a-

    30. SG

      I know, it's crazy

  4. 5:246:43

    Why imperfections will make human-made art more valuable

    1. JR

      ... but that, I think it makes you really appreciate actual things, like real physical things-

    2. SG

      Yeah, I agree with that

    3. JR

      ... like real, real connection with people, real art.

    4. SG

      Mm-hmm.

    5. JR

      You know? I think that's what's gonna happen a lot with AI, like people's actual artwork, like getting something like, like this, uh, chimp sculpt. This is made with, uh, thimbles, cymbals with ziljans.

    6. SG

      Oh, yeah. I see that.

    7. JR

      Yeah. This guy, uh, Shane Against the Machine, he makes really-

    8. SG

      That's dope

    9. JR

      ... yeah, he's an artist and makes cool stuff, but, like, I know a guy made that.

    10. SG

      Yeah.

    11. JR

      You know? Like, when I'm fucking around with this, like, this guy made it. I know, like-

    12. SG

      Yeah. I think it'll make us value real human-made art more, and-... value, like, nuance and mistakes and things not being perfect, you know?

    13. JR

      Yeah. I mean, that's part of what's relatable-

    14. SG

      Exactly

    15. JR

      ... about art, is it, and it's part of what makes us appreciate that it did come from a person. You know, like when you look at a really cool paint- like that painting. Like, that doesn't, that's not perfect.

    16. SG

      Yeah.

    17. JR

      It's not supposed to be perfect.

    18. SG

      I love that.

    19. JR

      It's just supposed to be an expression.

    20. SG

      Mm-hmm.

    21. JR

      You know? It's, it's like a person's work. It's like their, whatever they are, their thing, their essence is in that canvas.

    22. SG

      Mm-hmm.

    23. JR

      You know?

    24. SG

      Yep.

  5. 6:438:57

    Skylar’s childhood as a working musician in Wisconsin

    1. JR

      How'd you get started doing music? How old were you? You said you recorded with your mom when you were little.

    2. SG

      Yeah.

    3. JR

      How old were you?

    4. SG

      I was six when I did my first show.

    5. JR

      Whoa.

    6. SG

      Yeah. So she was in, like, folk bands and stuff, and she also plays Celtic harp. And my dad was in a barbershop quartet. And my great-grandma was an opera singer. So I just was, like, born into a, an extremely musical family. And, um, when I was, like, two, uh, we were singing Happy Birthday to one of my aunts and I started singing a harmony, and my mom was like, "What is going on? How is a two-year-old singing harmony?" I wasn't even able to, like, say all the words, but the notes I was singing were, like, the harmony part. And then with all her bands that she was playing with all the time, I would be at the rehearsals and chiming in, and then they would, like, bring me up on stage to do little guest appearances and, um, it was just very clear that that's what I wanted to do.

    7. JR

      Wow.

    8. SG

      And so when I was six, we put together our first, like, hour-long set, and I played at a library, me and my mom together [laughs] .

    9. JR

      Whoa. Where was this?

    10. SG

      And, uh, it was a Mother's Day show. Madison, Wisconsin.

    11. JR

      Oh.

    12. SG

      I'm from Mazomanie. It's like a 1,500-person, really small village, basically, in Wisconsin. Um, and so then I just loved it, and so we started touring around the Midwest and played a lot of really random venues like, um, elementary schools, libraries, uh, women's health conventions. I think the, one of the biggest shows I ever did was actually a Boy Scouts thing, and it was, like, 1,500 Boy Scouts. [laughs]

    13. JR

      How old were you?

    14. SG

      [laughs] Um, I, so I did this from the time I was six till I went solo, I think, when I was 12 or-

    15. JR

      [laughs]

    16. SG

      [laughs]

    17. JR

      That's crazy.

    18. SG

      Yeah.

    19. JR

      That's an interesting life, though, to have your path carved out, or at least the direction-

    20. SG

      Yeah

    21. JR

      ... at a very young age.

    22. SG

      Yeah. And it wasn't like I was, like, a Disney star or something, so it wasn't, like-

    23. JR

      Right

    24. SG

      ... on a big scale. It was-

    25. JR

      It was organic

  6. 8:5711:20

    Going solo at 12, buying a grand piano, and breaking away from mom’s career

    1. SG

      ... it was small and... But I made a decent money and, um, I mean, for a kid. And I saved it up, and then when I was 12, I bought my first grand piano with the, the money I'd saved up.

    2. JR

      Oh, wow.

    3. SG

      Yeah. And so then I started writing songs at the piano, like pop songs and stuff, solo. And it wasn't cool at that time to be singing with my mom anymore. Like, you know, kids get really mean in middle school. [laughs]

    4. JR

      [laughs]

    5. SG

      And they would, like, make fun of me, 'cause we were singing the silliest, like, like, We Are the Colors of the Rainbow, and Never Smoked Tobacco, and My Grandma Slid Down the Mountain. These are some of the song titles. [laughs] So it was very silly, and I got made fun of, and so I wanted to sing pop songs. And, uh, I went solo, and my mom was not stoked about that. 'Cause, like, it had become her career-

    6. JR

      Oh, wow

    7. SG

      ... singing with me. Like, we, I would miss, like, s- I would miss so much school. Um, sometimes I had six shows a week. So it was, like, a lot.

    8. JR

      Hey, lie down, buddy.

    9. SG

      But-

    10. JR

      You're huffin' and puffin'.

    11. SG

      [laughs]

    12. JR

      Give me kiss. Come here. Give me kisses and lie down. Come here. Come here, buddy. Give me kiss. Let everybody see you. Come on up. Give me a kiss.

    13. SG

      Aw, look at that.

    14. JR

      I love you too. Now lie down. Go down, buddy. Go lie down. Um, so when you say your mom wasn't stoked about that, was that, like, real friction between you guys?

    15. SG

      No. I mean, she was really supportive, but, like, like I said, it had b- become her career, singing with me. So it was like she had to adjust her whole lifestyle and everything for that.

    16. JR

      Wow.

    17. SG

      You know?

    18. JR

      That had to be a hard decision for you, then, knowing that that's gonna bum your mom out.

    19. SG

      Yes and no. I c- I just, like, I was so driven.

    20. JR

      W- at 12?

    21. SG

      Oh, yeah. Yeah.

    22. JR

      Well, what was the feeling? Like, when you say you're so driven, like, what was it inside you that made you wanna-

    23. SG

      I just loved making music and performing and writing. And, um, I knew I just, there was no, like, option of anything else I would do with my life. And I knew I wasn't gonna sing with my mom my whole life, you know? So I had to at some time-

    24. JR

      You had to cut her loose.

    25. SG

      Yeah. [laughs]

    26. JR

      [laughs] At 12.

    27. SG

      Yeah.

    28. JR

      That's so crazy. God, that's wild.

  7. 11:2020:56

    Dropping out, proving doubters wrong, and the bigger problem with schooling

    1. SG

      And I hated school so much, and I begged to be homeschooled, and we couldn't figure that out. So I ended up dropping out, um, when I was 16.

    2. JR

      Why'd you hate it so much?

    3. SG

      Um, because I was so focused on music, I felt like I was wasting my time in school.

    4. JR

      Wow.

    5. SG

      Um, yeah. There was this teacher that, my algebra teacher, um, she said something to me that kind of lit a fire under my ass, in a good way. Um, she told me music isn't a career. And I was like, "I'll show you, bitch." [laughs]

    6. JR

      [laughs] God, there's s-

    7. SG

      And so I dropped out, and I never went back after she said that

    8. JR

      ... there's so many teachers that have-Influence over children that say things like that, and it's such a crazy irresponsible thing to say.

    9. SG

      Yeah. 'Cause I had, I had missed, um, or I hadn't done my homework because I had a show the night before this, and then we had a test, and I aced the test. I was a good student. I had like a 3.9. Um, but I aced the test and, but she was like, "But you gotta do your homework just like everybody else in this class." And I was like, "I had a show. I couldn't, I didn't have time." And she was like, "Well, music's not a career."

    10. JR

      That's such a crazy thing to say-

    11. SG

      [laughs]

    12. JR

      ... 'cause it's clearly a career.

    13. SG

      Uh.

    14. JR

      Like, why do you listen to music? Who's making it?

    15. SG

      I know

    16. JR

      When you go to a concert and people are paying, is there someone, is there someone on stage? Is that a career?

    17. SG

      Yeah, but you know-

    18. JR

      Like, what do you... What the fuck does that mean?

    19. SG

      Like, small town-

    20. JR

      It's not a career

    21. SG

      ... small town Midwest, it's like... I mean, I guess everywhere.

    22. JR

      It's everywhere.

    23. SG

      People push the go to school-

    24. JR

      Yeah

    25. SG

      ... you know, get a, get a good job. Um, and I just wasn't on that path ever.

    26. JR

      Well, it's pretty wild to be that focused at such an early age, but it is... There's, it's something fun about those kind of like, "I'll show you, bitch" stories. [laughs]

    27. SG

      Yeah. Like, I could have taken that and been like... I could have gone the other direction with that comment, you know?

    28. JR

      Right. You could have said, "Oh my God, I don't wanna be a loser."

    29. SG

      Yeah.

    30. JR

      "I don't wanna be homeless."

  8. 20:5623:50

    Moving to LA at 17: culture shock, danger, and rapid hardening

    1. SG

      Especially when you're super young. Like I was when I first moved to LA, I was 17.

    2. JR

      Whoa. By yourself?

    3. SG

      Yeah.

    4. JR

      Whoa.

    5. SG

      Yeah.

    6. JR

      That's crazy.

    7. SG

      And I was, like, very green, small town, Midwest girl-

    8. JR

      Whoa

    9. SG

      ... just dropped in LA and, like-

    10. JR

      And really pretty.

    11. SG

      It was-

    12. JR

      That's a terrible combination

    13. SG

      ... oh, it was weird.

    14. JR

      Really pretty, 17.

    15. SG

      It was weird as fuck.

    16. JR

      Midwest. Oh, God.

    17. SG

      Yeah.

    18. JR

      Look at you now, shaved head, tattoo on it. [laughs]

    19. SG

      [laughs] Yep.

    20. JR

      Yeah, you came out on the other end good, though. But isn't it true, though, that, like, like, those kind of experiences, like ex- experiencing, like, oddity and uncertainty and just, like, the, the weirdness of, like, moving to a place like LA when you're 17, like, when you get through it on the other end, you're a different person. You're a stronger person.

    21. SG

      For sure. I mean, every experience makes you stronger, right? So yeah, I just threw myself into this crazy mix in LA, and it was culture shock, like.

    22. JR

      So what year was this when you moved to LA?

    23. SG

      Um, so I was 17, so... and I was in the graduate, or I should have been in the graduating class of 2004. So I think it was 2003.

    24. JR

      So somewhere around that time.

    25. SG

      Yeah.

    26. JR

      2003, 2004.

    27. SG

      Yeah.

    28. JR

      Yeah.

    29. SG

      Yeah. And I lived with, um, the guitar player from Culture Club.

    30. JR

      Really?

  9. 23:5034:36

    From city collapse to wealth stats: Detroit, memes, and income inequality

    1. JR

      Yeah. Wow. LA in 2003 was still okay.

    2. SG

      Yeah.

    3. JR

      It was, like, not bad, you know? There was still traffic and everything, but it hadn't gone completely sideways like-

    4. SG

      Yeah

    5. JR

      ... it is now. It's so weird when I go back, I'm like, "This is unrecognizable." It's, it doesn't seem like the same place. Every sign has a for l- every building has a for lease sign on it. It's like, this is nuts. Like, it's hard to believe that this is, that you're... Like, when you see things like Detroit-Did you ever see that movie Roger & Me?

    6. SG

      Mm-mm.

    7. JR

      It's a great movie. It's, uh, Michael Moore, and it's all about the collapse of the Detroit, um, automotive industry and how they moved all the plants to Mexico. And, um, when they did that, the entire economy of Detroit and Flint, Michigan, and all these areas just collapsed. Like, tens of thou- hundreds of thousands of people out of work [snaps fingers] instantaneously with no prospects. The industry was gone. And it's a v- horrific dis- depiction of what can happen when greedy people decide that they'll, they'll completely sabotage an entire city so they can make, you know, X amount more dollars and move all the factories to places where you can pay people a dollar a day or whatever the fuck they pay them. And, um, you know, I had seen that, but I was like, "Oh, that was, you know, 1980s or 1960s," whenever, when the, when, when the m- the place was booming. Like, Detroit was, at one point in time, I think the third richest city in the world.

    8. SG

      Whoa.

    9. JR

      Yeah. See if that's true. I'm pretty sure that's true. But, um, it was all just 'cause the automobile manufacturing. I mean, everything was made there, Ford, Chevy, Chrysler, all of our big cars, and it just [blows raspberry] gone.

    10. SG

      Yeah.

    11. JR

      You know?

    12. SG

      Like a ghost town.

    13. JR

      Like a ghost town. And, you know, and when I visited Detroit to work, I'd be like, "Wow, this is crazy." You see trees growing through the middle of houses. The houses are collapsed.

    14. SG

      Wow.

    15. JR

      And like, literally, nobody took care of the house. It was abandoned, so trees grow through the roofs, and they're reclaiming these homes. You see ... You go by these gigantic, like, buildings, like industrial buildings, and all the windows are broken.

    16. SG

      Yeah.

    17. JR

      Everything. No reliable historical source shows Detroit as the third richest city in the world. The common claim is actually that Detroit was the richest city in the world, or at least the U.S. was one of the highest living standards around 1950s, not third. Oh, so it was the richest?

    18. SG

      Whoa.

    19. SP

      Yeah, that's not true either.

    20. JR

      It's not... That's the common claim?

    21. SP

      Yeah.

    22. JR

      Oh, what it actually was, very high medium household income, around 20% above U.S. average, and it's all because of the automotive industry.

    23. SG

      Mm-hmm.

    24. JR

      One of the highest home ownership rates in the country. Because of this, many commentators' and locals' histories, uh, describe Detroit as the wealthiest city in the U.S., and by some accounts, having the highest standard of living in the world in that era. Articles and tours about Detroit repeatedly refer to it as the wealthiest city in the world in the 1950- 50s, not as the third wealthiest. So is that true then, that it was the wealthiest city in the world?

    25. SP

      That's, I, no. No. They're just saying that.

    26. JR

      Tours about Detroit's history. Uh, the third richest city in the world line seems to come from its memes, social posts. Okay.

    27. SP

      Yeah.

    28. JR

      These posts are often mix or exaggeration of real facts. Detroit truly was exceptionally rich by U.S. standards, but rankings like third in the world are not backed by clear, clearly documented global per capita income comparisons from that period.

    29. SG

      Well, so it was rich. We all know it was.

    30. JR

      It was very wealthy.

  10. 34:3641:05

    Ranch life realities: guardian dogs, coyotes, and losing chickens in Napa

    1. JR

      Well, you guys were saying you have, uh, one of them giant Caucasian shepherds.

    2. SG

      Yeah.

    3. JR

      Is that what it is?

    4. SG

      It's a Central Asian shepherd. We have an alabai. I guess there's a lot of different, like, breeds under the Central Asian shepherd.

    5. JR

      They're all herding dogs, right? They'll, like, protect-

    6. SG

      It's a protection-

    7. JR

      Yeah

    8. SG

      ... livestock.

    9. JR

      From wolves.

    10. SG

      Yeah.

    11. JR

      Fu- pull up a, the image of an alabai dog.

    12. SG

      Just Google wolf crusher.

    13. SP

      [laughs]

    14. JR

      Is that what they call them?

    15. SG

      Yeah.

    16. JR

      How much does it weigh?

    17. SG

      She's actually on the smaller side. She's, like, 105 pounds or something.

    18. JR

      Oh, that is smaller.

    19. SG

      But she, her head is so massive.

    20. SP

      Well, here, this, this is not a real picture.

    21. SG

      They get, they get really big.

    22. JR

      Is that a real picture?

    23. SP

      That's not.

    24. SG

      That one can't be real. [laughs]

    25. JR

      [laughs]

    26. SG

      But they are massive. Like-

    27. JR

      Oh, so that's what she looks like.

    28. SG

      Yeah, pretty much. She's all white.

    29. JR

      But those dogs are great for just, like, keeping track of the property.

    30. SG

      Yeah.

  11. 41:0550:01

    Biodynamic Napa vineyard: dry farming, glyphosate worries, and ‘Glass Rock’ grapes

    1. SG

      'Cause we need the cows 'cause we have a biodynamic vineyard.

    2. JR

      Oh.

    3. SG

      And so we use the cows in the vineyard, um, like for a few months out of the year just because it creates like a great ecosystem.

    4. JR

      Mm-hmm.

    5. SG

      And also like their footprints make little puddles and the water gathers 'cause we're also dry farmed. And so-

    6. JR

      What's that mean?

    7. SG

      We don't water our grapes.

    8. JR

      Really?

    9. SG

      Yeah. So um-

    10. JR

      Why is that?

    11. SG

      I'm not the wine expert, but [laughs] I think it's because, uh, you get like a better flavor profile if you like, it's more concentrated-

    12. JR

      Oh

    13. SG

      ... if you don't like overload them with water. Um, and also it makes the vines struggle in a good way so it makes them reach deeper, like the, the roots reach deeper into the ground, and so you get more like flavor I guess.

    14. JR

      And so this is your own wine?

    15. SG

      So we don't make the wine. We sell the grapes to um, I think we have five different wine makers now. They're all doing single estate, uh, wines from our property. Um, so they're not blending it with anything. So you can drink the wine from our property, but it's not our label 'cause I don't wanna go out there and sell wine and make people taste my wine and-

    16. JR

      Well, that-

    17. SG

      I don't wanna go [laughs] down that whole-

    18. JR

      Yeah, that seems like-

    19. SG

      ... marketing. It's like I have a whole other job. I don't need that one. [laughs]

    20. JR

      That seems like a lot.

    21. SG

      We just handle the farming.

    22. JR

      That's cool though. What if somebody wanted to buy wine from your property, like what are the wines?

    23. SG

      Well, our property is called Glass Rock and so, um, Pilcrow-Glass Rock, um, Tansy Glass Rock

    24. JR

      Oh, so they all say Glass Rock-

    25. SG

      Yeah

    26. JR

      ... is on the farm?

    27. SG

      I'm sorry. They have, like, a, their brand name or whatever, and then underneath it'll say, like, the vineyard site. So if you get it from a Glass Rock-

    28. JR

      All right, I'm gonna buy some wine from your farm.

    29. SG

      Oh, I'll send you some.

    30. JR

      Okay.

  12. 50:0154:31

    Cabin reset after a flop: odd jobs, porn-editing, and creative burnout

    1. SG

      Um, well, I had, I'd been on tour, and I was playing keyboards and singing backups for somebody else. So I can back up a little bit. So I, I got my first record deal when I was, um, 18 or something, and put out an album. That was with, uh, Warner Brothers. Linkin Park signed me. Um, and I was going by the name Holly Brook at the time. That's my first and middle name. And so I, I put out an album through that, and it completely, like, flopped, and I went broke. And, you know, LA's so, so expensive, and I had spent all my college savings to move out to LA and make demos and everything, so I had nothing left. And, um, so then I had taken... For the first time in my life, I had to get some jobs, like, not just performing. So I worked in, uh, Barnes & Noble, um, I taught gymnastics, and I edited porn. And then-

    2. JR

      You edited porn?

    3. SG

      Mm-hmm.

    4. JR

      Whoa.

    5. SG

      That was a great experience. [laughs]

    6. JR

      That's gotta be weird.

    7. SG

      It was weird.

    8. JR

      Well, how did you take that job?

    9. SG

      It was like-

    10. JR

      First of all, how did you even find out about that job?

    11. SG

      Well, it was a Craigslist ad, and-

    12. JR

      [laughs]

    13. SG

      [laughs] It, it was just like, "We need video editors." And I was like, "Oh, I can, I can figure that out," 'cause I edit in Pro Tools and stuff-

    14. JR

      Mm-hmm

    15. SG

      ... music, so it, it can't be that hard. And they said they would train. So I showed up to the interview in a suit, and [laughs] they were like, "So you know this is adult content?" 'Cause it didn't say that in the ad. And I was like-

    16. JR

      That's how they brought it up?

    17. SG

      Yeah.

    18. JR

      "You know this is adult content?" Like-

    19. SG

      Yeah

    20. JR

      ... how the fuck would you know?

    21. SG

      And they're like, "Are you cool with that?" I was like, "I guess so, 'cause I need the job." And so I just took it, and it was a nine-to-five literally just looking at, like, the most disgusting shit you can imagine. Like, Two Girls One Cup has got nothing on what I saw. [laughs]

    22. JR

      Really?

    23. SG

      Yeah. [laughs]

    24. JR

      So it was, like, hardcore-

    25. SG

      Hardcore porn, and, like, it was, like... It wasn't editing feature films. It was taking, like, a feature film and then cutting out all the highlights so that I could make, like, basically reels or, like, you know, it wasn't Instagram, but, uh, basically, like, these little clips that people would search and, and find, like a cum shot or, like, a cream pie or whatever search term they would use to find this specific little clip. And so I would put together these little clips and then tag it with all the search terms somebody would use to find it. That was the, the job.

    26. JR

      Wow.

    27. SG

      And so it was all just, like, watch the whole film and pick out all the most disgusting [laughs] moments you can find-

    28. JR

      [laughs]

    29. SG

      ... and turn that into a, a clip. Um, and then I started getting this thing called the Tetris effect. Have you heard of that?

    30. JR

      No.

  13. 54:311:29:56

    The Oregon cabin and the miracle hook: writing “Love The Way You Lie”

    1. SG

      To, to, and that's music at least. So I went on tour with him for a while. Um, I don't know if it was, like, a year or two, but the whole time I was just like, "I wish I was making my own music and singing my own music," you know? It started really eating at me, being, like, the backup musician. And so, um, I was, like, journaling a lot on tour, and I wrote, "I just want a cabin in the woods where I can set up my studio and be away from all these people." And, um, basically, I manifested the cabin, because-Like six months after I wrote that in my journal, my mom called me, and she was like, "My friend has this property in Oregon, and she has a cabin, and she's willing to let you live there for free. Um, you just have to work in her art gallery selling art f- like twice a week." And I was like, "That sounds perfect."

    2. JR

      Wow.

    3. SG

      So that's what I did.

    4. JR

      So that's how you wound up in Oregon.

    5. SG

      So that's how I wound up in Oregon.

    6. JR

      What part of Oregon?

    7. SG

      It's the southern coast. Um, it was in the middle of nowhere, but it's basically near Bandon. Do you know where Bandon Dunes Golf Course is?

    8. JR

      No.

    9. SG

      Have you heard of that?

    10. JR

      No.

    11. SG

      Um, it's a really famous golf course, but, um, it was kinda near there. And I m- I lived there for, like, six months, um, set up my studio, kind of, like, had to rediscover my love for music and fall back in love with it 'cause I had, like, writer's block, and I was really depressed. I had also d- just before that broke up with my boyfriend at the time, and was, my heart was broken, and it was just like, I was ... Uh, I was a mess. Um, but my cabin was, um, this really small one-room cabin with one light bulb, and there was no bathroom in it. There was a bathroom outside, and so I had to, like, walk in the middle of the night if I had to pee, I had to walk to the bathroom, and I was, like, terrified.

    12. JR

      Where was the bathroom? Was it an outhouse?

    13. SG

      No, it, it had a to- a flushing toilet and a shower, but it-

    14. JR

      But it was, like, a standalone?

    15. SG

      But it was separate from the cabin and, like, down a path.

    16. JR

      By itself?

    17. SG

      Yeah.

    18. JR

      Just a bathroom?

    19. SG

      Yeah. I don't know.

    20. JR

      Why would anybody-

    21. SG

      Well, because the cabin was, like, an old fire lookout that they turned into a cabin, so it didn't have, like, plumbing or something, so they, like, add- I don't know. But it was really beautiful, and it was also at the top of a sand dune, so I couldn't drive up to it, so I had to park d- down the hill and hike to it.

    22. JR

      How far was the hike?

    23. SG

      Like a quarter mile.

    24. JR

      Every day?

    25. SG

      Yeah. Yeah. And so, and I didn't have, like, internet or anything up there. Um-

    26. JR

      Wow

    27. SG

      ... but it was great. But I was terrified of mountain lions the whole time.

    28. JR

      Mm.

    29. SG

      And so I would, like, you know, w- walking up that hill at night if I came home from whatever, um, I had to have my flashlight and was, like, looking all directions, like [laughs] ... And then I actually made a mask to wear on the back of my head 'cause apparently, like, eye contact with a mountain lion, like, they won't attack, and so, they'll, 'cause they attack you from be- behind, so I, like, wore a mask on the back of my head.

    30. JR

      Whoa.

  14. 1:29:561:35:42

    Sudden success, impostor syndrome, and why co-writing rooms can be brutal

    1. JR

      How did you adjust to that? That had to be very strange.

    2. SG

      It was, and I also felt so much pressure. 'Cause, like, I definitely had a little imposter syndrome when I wrote that song, 'cause I was just like, "That was too easy." Like, it took me 15 minutes to write that hook, and I sent it off, and suddenly everybody wanted to get a song from me. And I was like, "That must have been a fluke." Like, "This is never gonna happen again. I'm never gonna [laughs] write another one like this or whatever." Um, and so, so many people were just wanting songs, and I felt so much pressure to deliver a hit song every time, you know? S- And I was always so hard on myself that it, uh, that became even worse. Um, just, I would just put way too much pressure on myself. I, I got invited to do so many songwriting sessions, but at, at that point, like, I had pretty much only ever written by myself. And so being, like, thrown in rooms with songwriters and producers and stuff, I was so shy. Um, I just felt, it was always so hard for me to open up creatively in front of strangers. Um, so I would just, like, walk out of sessions crying and just be like, "I suck. I-"

    3. JR

      [laughs]

    4. SG

      [laughs] "... I can't do this." You know? It was hard. That was the hardest part for me.

    5. JR

      Just the performing in front of a bunch of people-

    6. SG

      Just like, yeah, just-

    7. JR

      ... in the studio

    8. SG

      ... yeah, just trying to, like, create hit songs every time I'd go into a writing session. I just felt like there was some, such high expectations on what I would deliver, and I can't force creativity. It's like, it, it just-It happens or it doesn't, you know? But I felt like I had to deliver a hit song every time. And because I put that pressure on myself, it kinda shut down my creativity-

    9. JR

      Mm

    10. SG

      ... and it made it really hard for me to do that. So then I ended up, like, just leaving a lot of sessions and feeling like I, like I didn't deserve to be where I was and not good enough.

    11. JR

      How'd you get over that?

    12. SG

      Um, I didn't really. [laughs]

    13. JR

      [laughs]

    14. SG

      Yeah. I d-

    15. JR

      That's funny

    16. SG

      ... I don't think I ever got over that. I s- I, like, I did a lot of these sessions for a while 'cause I felt like I had to, and then I just kinda stopped taking them. I stopped agreeing to do 'em. 'Cause it was just too much, it was too hard on me.

    17. JR

      So explain these kinda sessions. So you, you go to a studio with producers, and, like, and they essentially say, "Okay, let's try to create something. Ready, go." And then you're in there, and your creative process is you by yourself, like, trying to connect with emotions and thoughts-

    18. SG

      Mm-hmm

    19. JR

      ... and ideas. And now all of a sudden you're around people. And also, you're a little weirded out because you've been living in a fucking cabin-

    20. SG

      Yeah

    21. JR

      ... by yourself. [laughs] You know?

    22. SG

      That and-

    23. JR

      And you're editing porn for two weeks, and it's like-

    24. SG

      That, and I just had this, like, hit song that was huge. It was massive. And I just felt like there was s- such high expectations on me, you know?

    25. JR

      Right.

    26. SG

      So it was very hard.

    27. JR

      Everybody that I've ever met who's really good has imposter syndrome.

    28. SG

      Yeah.

    29. JR

      I think it's a part of being genuinely creative because I think, like, genuinely creative people don't have that kind of weird ego where you're like, "Yeah, finally, I'm getting mine." 'Cause some people do have that, where they feel like they deserve this.

    30. SG

      Mm-hmm.

  15. 1:35:421:49:22

    Creative discipline and ‘the muse’: routines, environment, and nature as medicine

    1. JR

      How would you do it? How do you, how did you... Like, what is your creative process?

    2. SG

      My creative process, um, well now, a, a big part of it is not living in LA. [laughs] I have to be out in the middle of nowhere. Um, and I like to be alone in the room. Even if I'm writing to somebody else's beat or something like that, I just like to sit with myself and do it. Um, and I just try to focus on how it makes me feel, you know? I, I spent some time trying to write what I thought other people wanted to hear, and I feel like those songs always sucked. And so just, like, letting it flow, almost like I'm not writing it, like I'm channeling it or something-

    3. JR

      Mm

    4. SG

      ... um, that's better.

    5. JR

      Yeah.

    6. SG

      The songs that, like, take less effort tend to be the better songs. And the songs that I slave over to try to get them perfect and overthink, they end up doing nothing.

    7. JR

      John Mellencamp told me he wrote I Need a Lover That Won't Drive Me Crazy in the shower.

    8. SG

      Yeah.

    9. JR

      Like that. Done.

    10. SG

      Yeah.

    11. JR

      He was just singing, "I need a lover that won't drive me crazy." [laughs]

    12. SG

      No, it makes total sense. I write stuff in the shower. I write stuff when I'm cooking dinner. Um, it's not like go into a studio from this hour to this hour and write a song. Like, it never works for me to do that. So it'll just be random. Like, this new album I'm putting out, um, there's a song called Motivation, and I remember it came to me when I was standing outside the vet's office when my dog was getting surgery on her ACL or whatever they call it in dog world. Um, I was just, like, pacing outside during her surgery, and this, like, song started coming to me.

    13. JR

      Did she have to do that thing where they cut the bone?

    14. SG

      Yeah.

    15. JR

      Yeah. I had a dog, she had to have both her back legs done that way. She blew out both of her-

    16. SG

      It was brutal. The recovery was brutal.

    17. JR

      It's horrible. Yeah.

    18. SG

      Keep in ... 'Cause she was also a puppy, so she had, like, puppy energy.

    19. JR

      Eh.

    20. SG

      And it just, we had to sedate her and-

    21. JR

      Oof

    22. SG

      ... it was, it was awful. [laughs]

    23. JR

      Oof.

    24. SG

      Yeah.

    25. JR

      And so do you take specific time to just, like, sit and try to write, or do you just, like, let ideas come to you?

    26. SG

      I usually just let ideas come to me. I, like, take a lot of voice notes in my phone, um, or I'll write down lyric ideas that come to me. And then, um, I need to be better about making time for it, 'cause when I do make time to, like, go in and be creative, uh, it, it usually does... There's a balance. It's like I can't force it, but I also can't be lazy and, like-

    27. JR

      Right

    28. SG

      ... just avoid it completely.

    29. JR

      Right.

    30. SG

      You know? So I try to balance that out.

  16. 1:49:221:59:04

    Goals at 40: releasing more, ‘bubble grunge,’ and the meaning of Wasted Potential

    1. JR

      Do you have goals?

    2. SG

      Yeah.

    3. JR

      What are your goals?

    4. SG

      [laughs]

    5. JR

      Like, 'cause some people don't. Some people just enjoy just doing. They don't think about, like, goals.

    6. SG

      Yeah, I mean, I have, like, things I wanna do before I die, you know?

    7. JR

      What do you wanna do?

    8. SG

      Um, well, I wanna be better about putting out more music, 'cause, because I do put so much pressure on myself, I, it's taken me, like, five years between each album to, to make one and put it out.

    9. JR

      Yeah, but they're all so good.

    10. SG

      'Cause I second, I second-guess myself all the time. And, and I think, like, I put so much pressure on it, like, "This has to be the, you know, the sound that, or the mark I leave on the world, and this is what I wanna be known for." I'm like, fuck all that. Just capture a moment in time. Like, what am I feeling right now? What vibe am I into?And capture that zeitgeist musically, and then move on to the next one. Like, it doesn't all have to be cohesive. I used to just be like, put so much pressure on it being cohesive, and having, like, a certain sound or whatever. But now I'm just like, okay, right... Like, right now, this album, I'm calling the genre bubble grunge, 'cause it's, like, inspired by the '90s, um, pop and grunge kind of, like, com- combined together. Um, but then the next album, I might totally flip it and do something totally different. And that's okay. Like, it doesn't all have to be... Like, it can be different. I can, I can change it up. And so I'm, I'm... My goal i- in regards to that is, uh, to put out an album every year-

    11. JR

      Wow

    12. SG

      ... instead of every five years. [laughs]

    13. JR

      That's a big shift.

    14. SG

      It's a big shift. But I don't wanna look back and just wish I would've released more, 'cause I have so much music sitting on hard drives and on a Dropbox folder that's never come out. 'Cause I would, like, make a bunch of music and then second-guess it, and start over, and start over again. It's not good enough, it's not good enough. And I'm like, "I should've just put everything out." I should've just been okay with, like, you know, putting out a bad album or a bad song. It's okay. [laughs]

    15. JR

      But do you think that that's-

    16. SG

      Just, like, keep making it and putting it out

    17. JR

      ... perhaps a part of the creative process, is boiling it down to something that you would-

    18. SG

      I think so, but I think I take that way too far.

    19. JR

      Do you think that that is in part because of the pressure that you experience for your first thing that hits, y- is number one? Which is-

    20. SG

      Maybe

    21. JR

      ... a crazy experience.

    22. SG

      Yeah.

    23. JR

      And you were really young.

    24. SG

      Yeah.

    25. JR

      You know? And all of a sudden, boom.

    26. SG

      Yeah. Maybe that was part of it. Just made me, like, extra hard on myself. Um, but I wanna have more fun, and not take it so seriously.

    27. JR

      So how do you plan on doing that? How do you plan on having more fun and not taking it so seriously, but yet still-

    28. SG

      I'm already doing it.

    29. JR

      Yeah?

    30. SG

      Yeah. I think, I, I just turned 40, and I think that also has something to do with it. 'Cause I'm just, like, seeing the end. [laughs]

Episode duration: 1:59:05

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