It's all good." And then, here comes COVID-19, and we can't play live! So then, we're trying to keep our heads up and we say, "OK, we'll be grateful we can still play live because we're paying the rent and taking care of our families. It's like you did your job for a month and they paid you a nickel. Streaming came along streaming doesn't pay us. Here's what happened: We had two ways of making money: Touring, records. It doesn't enrich my catalog or my legacy. Beyond the financial reality of it, what do you think this deal might do for your catalog and legacy? I've seen a lot of opinions out there as to why artists are doing this in droves, much of it misguided. You recently sold your catalog to Irving Azoff. If you're interested in autism, I highly recommend it. It's a very scientific book, but it's written so well. He wrote the best book that anyone's ever written on autism. I have actually found some very fascinating people there, and I enjoy it. You send something, they respond to it and you eventually suss out who's who. You have to watch what they say and then you get a glimpse of who they are. That's where I met Steve Silberman, my friend from San Francisco. But there are a ton of fascinating people there too, man. There are Trumpers and other kinds of people who just don't understand what's going on. You've got to remember: There are both kinds on here. It's interesting that you willfully open yourself up to both good people and the lowest common denominator of your fanbase. If you're that dumb, I don't have to waste my time with you! I like that a lot. I don't have to engage in a fisticuffs battle with someone who thinks QAnon is real, for God's sake. The other thing about Twitter is that if someone tries to pick a fight, you just delete them. But mostly, I'm not trying to be Howard Stern. The Kanye Wests of this world, I'll occasionally stick a pin in their balloon. Every once in a while, I take a shot at somebody I don't like when they get really pretentious and blown-up. It's all about appreciating life as you just described it. Some people tend to paint your Twitter account as being cantankerous, but I find it to be the opposite. I'm sitting up here in central California and it's a stunning day. This interview has been edited and condensed for clarity.Įlderly and confused! No, I'm fine, man. (In the 2010s, he put out the good-to-excellent Croz, Lighthouse, Sky Trails and Here If You Listen.) Aside from the elegiac closer, "I Won't Stay For Long," the mood is inexhaustibly upbeat, whether he's covering his beloved Joni Mitchell on the title track or teaming up with his hero Donald Fagen on "Rodriguez for a Night."Īhead of his performance at the GRAMMY Museum, spoke with Crosby about what Twitter teaches him, why he recently sold his catalog and why he's not really a grumpy contrarian, but a man enamored with music and human beings. We're talking about For Free, his new album which arrives July 23 and represents the brightest star in his recent constellation of albums. Since I am here today, all I want to do is use today to do whatever I can to make stuff better." Despite a series of recent, brutal tests, he sounds lighter than ever over the phone - and his new music is his bounciest and most galvanized to date. "It's a game I'm playing, really," Crosby tells from his Santa Ynez, California, home on a "stunning" day. "I love my friends and my family and I'm trying to be a decent member of society. ") While that vibe is certainly present, a cursory look at Twitter reveals the opposite: An 80-year-old rolling around with his dogs, digging into tacos by the pool and giving thanks for the gift of life. To many people online, he's the consummate curmudgeon, an octogenarian sourpuss who shares his dislike for hip-hop and shared his disapproval of the Phoebe Bridgers guitar smash on TV. The music community murmurs about David Crosby's Twitter account like it's a mythical sea monster.
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