← Takin' A Walk - Music History with Buzz Knight
Takin' A Walk - Music History with Buzz Knight
Exploring Music History on Foot: Buzz Knight and Stewart Copeland Share Legendary Stories from The Police and Creative Journeys
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- [00:00]
Host (Taking a Walk Podcast Host)
Taking a Walk we have a very, very special episode of the Taking a Walk podcast. He helped change the sound of rock and roll with a drum kit, a reggae infused groove, and one of the most iconic bands ever to walk the planet, Dewart Copeland co founded the Police in 1977 alongside Sting and Andy Summers, and together they gave the world Roxanne, Every Breath youh Take, Message in a Bottle, and a catalog that still resonates nearly five decades later. But here's the thing about Stuart Copeland. He never stopped after the Police. He composed film scores, wrote operas, collaborated with orchestras around the world, recorded with Oysterhead, kept pushing music into places most people couldn't imagine. Today, he's going to be hitting the road in 2026 with a spoken word tour, Have I Said Too Much? The Police, Hollywood and other adventures where he's sharing his stories live and in person. And there's no shortage of stories today on Taking a Walk. A man who many consider the greatest rock drummer of all time, Stewart Copeland, is next on Taking a Walk.
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Host (Taking a Walk Podcast Host)
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Host (Taking a Walk Podcast Host)
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- [03:19]
Host (Taking a Walk Podcast Host)
So Stuart, since we call this podcast Taking a walk, is there somebody you'd like to take a walk with? It could be living, could be dead. It could be more than one person. Who would be that sparked conversation that would make it a great walk.
- [03:36]
Stuart Copeland
Well if it was a drive in my car I'd take Mozart and play him some music. Walking along just talking historical figures. Are you looking for musicians or anybody
- [03:47]
Host (Taking a Walk Podcast Host)
personal famous all your decision well I'll
- [03:52]
Stuart Copeland
tell you one time was a real story is I I had the opportunity to meet Mikhail Gorbachev, who's one of the great men of history. I mean like Castro, Reagan, Thatcher, you know, he's one of those people. He's, he's in every history book. And I had a chance to actually meet him and it was in Italy and it was a really long banquet dinner party thing. And finally after the thing I got a chance to meet him and we're in brought up together and he's there with his entourage and he's got these two buxom blondes peeking out from behind him which I believe are his daughters. And so we're brought together the great moment. And I've been thinking all day, what do you say to Gorbachev? And I had a couple of options. One was sir, are you now or have you ever really been a Communist? That was one which I thought was kind of cool. But he probably he might not get it since that's an American trope. So I had what I was going to do is, you know, when did you realize that the entire edifice of Soviet power was a rusting rotting hulk? When you know how far down the echelons of the power structure of the Soviet Union was it known that the entire thing was a farce? Or did you find out when you got to the big office with the corner suite? Was that when you found out that you had no navy, no air force worth a dang. And I was all set with these questions. I was quite excited. And so the moment arrives and we're presented to each other and his daughters are speaking out from behind and I hear the translator going. And I noticed that the two Blonde ladies behind him were looking a little disappointed. And I realized that, you know, okay, got the introduction slightly wrong there, but never mind. So I asked the interpreters, you know, would it be okay if I ask a political question? And here's the thing. This man of history, this, you know, actually answered my question. He wasn't actually looking directly at me and the word came out of his mouth, nyet. And I. To this day, I'm still reeling from this acknowledgment of my existence. Well, he didn't actually. I don't even know if he actually saw me or he didn't, you know, little. But the word niet was applied to me. Me, little old me, the great man of destiny spoke a word about me. And as I'm sitting here talking to you, I have been, well, indirectly addressed by Gorbachev. How about that?
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Host (Taking a Walk Podcast Host)
What a great story.
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Stuart Copeland
Oh God.
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Host (Taking a Walk Podcast Host)
It really proves that the big buildup moment usually doesn't really turn out to be anything.
- [06:44]
Stuart Copeland
Yeah, certainly for his daughters it was kind of a letdown that it wasn't. Gaburshki. Berskie. Berski. Sting.
- [06:51]
Host (Taking a Walk Podcast Host)
Oh my goodness. So in your time as a CIA, you know, having a CAA office father, right, who moved the family around to the Middle east, you must have had a lot of interesting encounters with not only leaders, but different.
- [07:10]
Stuart Copeland
No, actually I had a lot of encounters with, you know, my father, as cultural assess in Syria, would throw soirees, dinner parties in there amongst, strangely, amongst all of the poets, playwrights and novelists and intellectual thinkers of Damascus, there was a sprinkling of uniforms formed, men in uniform. And of course that's what the real party was all about, was grooming these colonels in case they might be needed for the next coup.
- [07:43]
Host (Taking a Walk Podcast Host)
How did that shape you musically though? Because you were exposed to different cultures, different music and it must have been, you know, fascinating to be curious because you moved around a lot.
- [07:55]
Stuart Copeland
Well, I didn't move around that much actually. I left America when I was two months old. Born in Alexandria, Virginia, which is a suburb of the CIA. Two months old, arrived in Cairo. I was there for maybe five or six years. And then Beirut for 10 years. Beirut, Lebanon, until my sort of early to mid teens. And then off to boarding school in England, which is not that many places, I suppose. Not quite as much as like an army brat, you know, I was a diplo brat, I guess. It's a few places. And as far as culture, I and all of the other kids at the American Community School in Beirut was. We were all desperate to be American. And we were trying to steep ourselves in what glimpses of American culture we could find while we were enveloped physically in a rich Arabic culture that goes back centuries and actually has much more profound cultural depth than our own American culture, which is fairly recent. And we were all desperate to be American, but we were surrounded by this, this deep culture. And the aspect of this deep culture that affected me most personally was of course, the music which I wasn't even listening to, but it was just seeping by osmosis into my DNA. And why this is important to me is because Arabic music has these features, these rhythmic features that are parallel to another kind of music that is rather popular called reggae. And these features are. It's a bit technical for you, for your non musician listeners, the emphasis on the third beat of the bar. Take a 4, 4 rhythm. 1, 2, 3, 4. 1, 2. Okay. Instead of in American rock music, 1, 2, 3, 4, 4. Well, in Arabic music it's on 3D. 3, 4, 3, 4, 1, 2, 3, four. Which. Which is similar, you know, kind of similar to reggae. And also the elimination of 1, 2, 3, 4, 2, 3, you know, and the upchicks. So that in 1977, when in the punk clubs of London when the DJs had no chill punk music to play. Because that doesn't exist. San existe pas, you know, chill punk, there are no such thing. So what the DJs would do would be to play dub reggae, which was chill, but still suitably hostile, to maintain the anger of the punks even while chilling. And so all of us skinny white boys were introduced to this bass acords, reggae rhythm with the. And all of us, Topper Headon and the Clash and me and all the other religion. What the hell are they doing? That's not how. That's sort of. That's completely how you don't do it. But for me, it actually was already there. I already completely, in my. All my instincts, completely had that in my bones and in my internal clock. My internal sense of rhythm was. It was already there. So it came more easily to me than to the others. In fact, I can say that the Clash, we have to give, give credit where it's due. They were the first skinny white guys to attempt to play reggae. And they all the other drums, they had to slavishly listen to what the Jamaicans were doing and try and do that. But I didn't. I could. I. I figured out what they were doing all wrong and all bass ackwards. But I already knew that so I could kind of just be adjacent. So the Police was not so much reggae as reggae adjacent. I just fell right. It was real easy for me. I just felt. And I could not only do it, but I could take it somewhere new. I could refresh it.
- [11:52]
Host (Taking a Walk Podcast Host)
Brilliantly described. How did Curved Air, another brilliant band. How did that set you up for what would be coming down the road with the Police?
- [12:02]
Stuart Copeland
Well, actually, my education began before Curved Air with Wishbone Ash as roadie. I rodied for Wishbone Ash and other groups. And then eventually I rose up the ranks. This is all helped by nepotism. I was a nepo roadie because my two brothers had a music industry empire. And I started at the bottom, roading. And I learned everything about the gear. How to get it in and out of a Ford Transit truck, how to set it up on stage, where to find the plug. Then I rose up the ranks and became a tour manager, starting with one of my first turn managing gigs with Curved Air, which is where I learned even more important stuff, which is not how the gear operates, but the band operates. The power structure, the creative tension, the, you know, who are the passengers, who are the leaders and so on. You know, while I'm driving and. And tour managing and they're squabbling in the car, I'm learning a lot about band dynamics. And that informed the Police. Coming along musically, not so much. I played a lot of triplets. I had to forget all that when we became a fake punk band.
- [13:08]
Host (Taking a Walk Podcast Host)
So let's do a little thing called like the. The Fast Five here. First record you ever bought, Help.
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Stuart Copeland
I didn't actually buy it. A friend of mine, I was going to England from Beirut and I gave him 10 pounds Lebanese and said, get me something from England. And he brought me back Help. The album. I wasn't even particularly a Beatles fan, but I memorized that album.
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Host (Taking a Walk Podcast Host)
Worst concert you ever went to, Jimi Hendrix.
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Stuart Copeland
I played shows before then as a kid in the American Embassy Beach Club, you know, the Black Knights, our high school band. But the first professional band I ever saw was Jimi Hendrix Experience at the Saville Theater, coincidentally on the night of the announcement of the Beatles manager's death. Very strange. It turns out Paul McCartney was there that night and. And others. So the first professional band I ever saw was Jimi Hendrix Experience.
- [14:00]
Host (Taking a Walk Podcast Host)
First mentor in your life, you know.
- [14:03]
Stuart Copeland
Corny answer. My dad, he was. He's very, you know, his mission in life. I was the fourth sibling and he tried to get his other. He was a kind of a pop psychiatrist. He was really into, you know, such books as how to win friends and influence people, how to raise your child's iq. All this sort of early, you know, for popular consumption. Psycho. Babel. And he was really into that. And he was. So he failed with the first three to get them interested in music. But I came along and he discovered what every parent with who has aspir musical aspirations for their child. If you have to say to your children, you know, henrietta, I think it's time for your piano practice, forget it. You're wasting your time. If instead you have to say, henrietta, will you shut up for just a minute? Okay, now, you know you got a musician in the family. And so when my father discerned this. This irksome trait of never shutting up, he immediately got me lessons and he developed a technique which he probably got from the psych pop psychology books of inspiring without, you know, you've got to, you know, compliment. Compliments from parents have to be very finely calibrated. And I've learned this with my own kids. You can't just say everything's brilliant. It has to be tempered with some reality because otherwise the kid doesn't believe it. And it's just dad telling me I'm great, you know, so he was both challenging and encouraging, which is a knife's edge. You know, these are parenting techniques that, you know, obviously, I was a fourth kid they were getting, you know, as with my kids, I got seven. I think I got it semi figured out by child seven. Our youngest child is the. The best educated, well adapted, you know, remember that? She. She was born learning everything her siblings had to learn. And so by the time I came along, my dad was a little bit better at it.
- [16:07]
Host (Taking a Walk Podcast Host)
First drum kit you ever bought?
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Stuart Copeland
Well, the first drum was a lafema snare drum, which I believe is a German brand. I've got a picture of me playing it. But the first drum set I had was actually rented. My dad, after all of his failures with the other stuff, he wasn't about to buy a drum set, so he rented me one from the music store. And so my first drum set was rented.
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Host (Taking a Walk Podcast Host)
First artist you ever became obsessed with.
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Stuart Copeland
Jimi Hendrix.
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Host (Taking a Walk Podcast Host)
There you go. Back to Jimmy.
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Stuart Copeland
You know, I was raised, you know, to be a jazz musician by my daddy. And as much as I loved and respect and was inspired by my daddy, that the jazz just kind of, you know, I liked it. Buddy rich, what's. What's not to love? And my mother, meanwhile, was listening to Stravinsky and, and Debussy and all the impressionists. The. The 20th century composers. And for that I would turn out the lights and go places in my mind while listening to Rites of Spring. And then one day when I was about 16, arrived Jimi Hendrix, which just completely upset the apple cart. And that was it for trombones and not. That wasn't quite it for Stravinsky, because I still just emotionally was, you know, was lit up by that and Carl Orff as well, but at the guitar just came and blasted everything out. But the combination of Mitch Mitchell on drums, because I was already into drums by that time and I couldn't, you know, the problem was, you know, this is one of the difficulties of my life. What's the pain that I must endure surviving my childhood is that I just could not resolve this. This crushing issue of do I want to fantasize about being the drummer or guitarist? You know, and you can't do both. I couldn't think, you know, so that was the trauma that I had to live with during my adolescent years.
- [17:53]
Host (Taking a Walk Podcast Host)
So you must have an incredibly endless Mount Rushmore of drummers that you look at and respect.
- [18:02]
Stuart Copeland
Yeah, yeah, yeah. Although having grown up, I. I can see, you know, I. They're all human now. Buddy Rich is actually. Even though I'm not a big, big band jazz fan, he is superhuman. There are kids these days who are superhuman. I just have to. You have to have no life. That takes neurodivergence to get that slick, that tech, you know, that kind of technique, you know, Joey Jordison, our rest in peace. That kid can't be normal. To get that good at stuff, you gotta not have a life. And particularly my instrument doesn't take that level of technique. You're either born with it or not. Good, great drummers are not made. They're born that way. They've. You know, Ringo Starr didn't have chops, but he was one of the greats because the innate gift of rhythmic sensibility and Charlie Watts, the same is, you know, doesn't take a lot of flourishes, a lot of what we call them musicians call chops. Chops is just cool stuff that you can do that the other guy cannot do. And it takes practice and practice and practice and practice. Who cares? Ringo, Charlie and others, Mick Fleetwood, they just have an innate throb, which is much more important. So, yes, my Mount Rushmore includes Mitch Mitchell, Buddy Rich, of course, John Bonham and Ginger Baker, I guess. But since. Since you mentioned Buddy Rich, I'm gonna have to tell you my Buddy Rich story, of which I have. I have two. Yeah. One Is that okay? I'm at the Grammys. And backstage at the Grammys is where the real party is. That's where all, you know, they have. They have black tie dressed fillers. So when you go hang out backstage, some beautiful person sits in your seat to keep it all photogenic. So. But backstage is where it's all happening. And I'm back there and I see Buddy and he's sort of walking in my general direction. And so I'm, you know, like when you're whale watching, you try and get your boat sort of in the path of the whale, where you think it's going to be. So there I'm kind of maneuvering to get into the, you know, the trajectory of where Buddy Rich is headed. And. And I realized, wait, wait a minute. He's. He's walking up to me. He's walking to me. He is addressing me personally. Words are coming out of his mouth addressed to me. And he's holding a piece of paper, and he says to me, he says, sign this. And I look, and it's for his daughter Kathy. One more time. It's the daughters who are the cause of all this great social elevation. And so I sign it in, you know, my blind obesience and, you know, my struggling, urgent obeisance to the great man. I'm signing with a bit of a quiver to my autograph there. And so what brings me to the point of all this? I gave Buddy Rich my autograph. How about that?
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Host (Taking a Walk Podcast Host)
Love it.
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Stuart Copeland
I never would have dreamed that that old bastard would be asking me for my autograph if my daddy could see me now.
- [21:02]
Host (Taking a Walk Podcast Host)
That's right. And my God, he. Back in the day when he would show up on the Johnny Carson show and, you know, sit in and do his thing and then come over to the couch. Those were some memorable moments, too, you have to admit.
- [21:19]
Stuart Copeland
Well, yeah, not only as, you know, looking at it myself, I'm a sweaty guy. I could never do that. And then come over and sit on a couch wearing a jacket and tie. Even better. I can't go on stage and, you know, like, okay, nowadays when I'm playing fancy with the orchestra, you know, I have a silk shirt that's extremely thin I can wear. You know, it's only kind of long sleeves. And I'm not pounding through 2 and a.2 and a half hours of rock and roll. I'm very sophisticated with an acoustic orchestra, so I can handle it. But most drummers, it's a T shirt gig.
- [21:51]
Host (Taking a Walk Podcast Host)
Tell me about the joy that has come for you after the police, where you've gotten into film scoring and opera, orchestral composition. Talk about how you get all psyched up for that and what it means to you.
- [22:07]
Stuart Copeland
Well, the first time, you know, I'd always realized because my daddy told me, you know, you're not a drummer, you're a musician. You're not a musician, you're an entertainer. You're not just an entertainer, you are in show business. You know, to think outside of your little. That one cog that you represent. No, think of the whole engine. And so that was his perspective. So I've always thought as a composer, I've always had my own music. And that that wasn't just my daddy, that's just. I was born once again born this way. I have music pumping through my head at all times when I'm walking, at least if I. If I'm not walking, it kind of slows down. And that doesn't mean to say it's any good or that anybody else will ever like it. But there. I don't ever have writer's block. This is a thing that does not exist for me. You know, I just point myself at my machines and, or my instrument and stuff comes out, you know, that like I say, it's not that it's any good or not, it's that it comes out. And there are other musicians that I know who are fantastic musicians, really, but they don't have that river flowing out of their brain. You know, guitarists who are incredible musicians but just can't write a song or you know, violinists in the orchestra, they have incredible technique, incredible musicality. And they say, well, you know, this summer I think I'm going to write a violin concerto. No, you're not. If you had a violin concerto and you. And you would have written five of them by now, not waiting for this summer, you know, it's just a gushing that is a natural thing. And so I bang stuff and I seem to have an instinct for that with my secret sauce of the Arabic culture. But also there's this music thing and the composer guy's completely different temperament, a completely different nature from the banging guy. You know, as a Drummer, I'm a 800 pound hairy ass silverback swinging through the trees, you know, and it's entirely instinctive. But the composers, urbane, safe with children in polite society, you know, tends towards the 50 cent words and is an entirely different character, discerning, you know, contemplative even. Not the same as the drummer guy. In fact, when commissioned to write a concerto for traps, drums and big bad orchestra. I'll compose the hell out of the drummer part and then sit behind the drums. They off. This is what I'm going to play. And it's all instinctive. The drummer guy does not think about anything. He just bangs stuff and feels the groove. The composer guy is completely different. And so I made my living as a drummer guy for a long time until one day I got a call from one Francis Ford Coppola, who asked me to come and do music for his film. This was just at the end of a nightmare police recording. The hellscape of the police recording environment, which looked just like a Caribbean tropical island with the waves gently lapping and the trees gently waving, you know, beautiful. They only fly in the ointment was us three. It was hell on earth. And to escape from that to the warm embrace of Francis Coppola was a big change of environment. But also I had these riffs that had been scorned by my colleagues. Not so much scorned as much as, like, Sting just came up with better songs, okay. More suited to the band and his singing and everything. I had, like really cool vibes and stuff, but they weren't much in the way of songs. So I took that same material over to the score use on this film and since you asked, got a Golden Globe nomination, a Grammy nomination for those tunes that my colleagues had scorned and spurned. So there is justice in the world. But that musical composition side began when I was asked to compose stuff. And then it was honed, you know, because the Francis experience was all art, art for art, and it's just a beautiful artistic mission. He wasn't looking to make money. It was a very cheaply made movie. He just wanted to get it off his chest as a work of art. And I didn't know any better. But then I got a job as a television episodic TV composer. That is the boot camp of composing, where you are just having to produce by quantity, very specific music. Not the music that is in your heart. No, the music that is in this scene that the scene wants. It's not scary enough. Make me scared. So you do scaredy music. I need to tell the audience to be happy about this. Okay, I'll do happy music. Okay. Tell the audience that this is bad. And even though it's beautiful, you know, so you learn specificity of what music does to human emotion, which is very powerful. The relationship between drama and music is deep and profound. And I learned this specificity, but also another interesting thing that any of your Musicians listeners might be interested in is that the quantity produced quality, which is counterintuitive. The show arrives at my desk on a Tuesday. This episode, okay, bang. I send the tape out on Friday and it's got music on it, whether it's my finest hour or not. Not, you know, I, I can't. I haven't got time for that. I gotta ship it. There's something on the tape. They pay me money. There's music on the tape. And I discovered that under this pressure, without time to. For self doubt or judgment or anything like that, just make it, print it, ship it, mix it, print it, ship it, it, you know, and, and I realized that some of the best themes, the best three note tricks, the best, like bass lines and stuff came under the gun under that kind of pressure because you get deeper and deeper into the creative scene. You know, you just brush past any doubt or anything and that's when you get to the best stuff.
- [28:15]
Host (Taking a Walk Podcast Host)
Is it true you knew going into the Ghost in the Machine session that things were kind of starting to wrap up for the Police? Did that. Is that accurate?
- [28:25]
Stuart Copeland
It didn't take any special powers of intuition. I mean, from Zenyatta it was getting tense and then Ghost in the Machine it was really tense. And by the time of Synchronicity we actually hit dead stop. We halted just progress. Couldn't, couldn't move forward. What are we going to do? So we were over in Montserrat in a studio built by one George Martin, the Beatles producer. And it so happened that he was in residence on the plantation right next door in his mansion there. And so he sent Andy Summers, our guitarist, to go talk to George, see if we could persuade him to come and produce us and fix, you know, break up this log jam, you know. And so Andy trundles off into the jungle, down the hill, across the creek, up the other side of the hill, through the jungle. I like to think that he had a, you know, you know, his sword slashing his way through the vines. And he gets up to George's place, who brings him in, sits him down, makes him a cup of tea and says, well, how's it going over there, lads? And Andy says, we have a problem. I'm there with these two other fucking assholes trying to make a record. Do you think you could come over and produce us? Well, George wasn't born yesterday. And he said, well, no, but here's the thing. You are three very talented lads and I'm sure you can sort yourselves out and finish your record. And then he hears These words of wisdom. I can't believe what he's hearing. He leaves. He finds his way back down the hill through the dirt, crosses the creek, climbs up the other side and. Guys, guys, guys. You're not going to believe what he said. He said we can sort ourselves out and finish the record. No, really, he said that, Mike. Okay, okay, Sting, give me that fucking stupid song. Yours. Tell me in, baby. All right. And we did indeed finish the record right there. And. Which is a. You know, Which I guess kind of explains, you know, that's a heck of a producer there, that George Martin. Now we know why the Beatles were so big.
- [30:30]
Host (Taking a Walk Podcast Host)
Lastly, I could go on, but lastly, you got a lot of things on the agenda today. I'm sure I do. Okay, good. If you could be a therapist, a band therapist, what advice would you give to bands as their beginning that would keep them intact as long as possible?
- [30:53]
Stuart Copeland
I've done that very many times. I have. Uncle Stu, Daddy. I have often mentored to the young musicians and mainly it's to the passengers. It's let the leader lead you like. You like living in this big house. Don't you know the big house is better? You know, you may think that you're. The band is so big that you can go off and carve a new career on your own. You can't, you know, lightning struck here. Stick with it. Be nice to your leader and to the leader himself. I would say, look, you probably don't need these guys. You've got the X factor that you can take it with you to your next gig. But these guys got you here. These guys are the proven formula that are why you are living in this big palace. The other guys living in big houses. The guy who, you know, the central character, Mick Jagger is living in a palace. In fact, Stingo's living in about five different palaces. Be nice to your soldiers. Keep hold of your soldiers. And it worked for the Police, by the way. You know, Andy and I were slightly more than soldiers because it was only a three piece band and the sound of the band was a big part of it as well as the songs. We would have gotten nowhere without those songs, mind you. Has to be said, but those guys are your formula that got you here. And as long as you can stand it, put up with them. And that's what Sting did. He put up with us to other for two albums longer than he needed to, but it set him off. When he did strike out on his own, he was a stadium act rather than a big arena act. So it works to hold. Hold on to your soldiers. Be nice to your soldiers.
- [32:39]
Host (Taking a Walk Podcast Host)
Are you going to be taking this roadshow of yours on the road and talking to people about your wonderful life and all your insights?
- [32:48]
Stuart Copeland
Oh yeah. I will be crossing the land. The tour is called have I Said Too Much? No, I haven't, but I will in your town.
- [32:57]
Host (Taking a Walk Podcast Host)
Fantastic. Stuart Copeland, this has been awesome. Thanks for being on. Taking a walk. I had a fricking blast.
- [33:04]
Stuart Copeland
Great. Well, thanks for listening.
- [33:06]
Host (Taking a Walk Podcast Host)
Thanks man. I appreciate it.
- [33:20]
Mazda CX5 Advertiser
Introducing the all new Mazda CX5 featuring more connection hey Google, where's the nearest Pilates class safety that has your back? More discovery on the scenic routes, more passion in the details and more control in changing weather. The all new Mazda CX5 more to move every side of you. See it in 5 films@mazdausa.com 5sides Google
- [33:47]
iHeart Podcast Announcer
is a trademark of Google LLC. Sequences shortened and simulated when you own
- [33:51]
Chase Sapphire Advertiser
your own business, you need to keep things moving. Need to book a last minute flight? Earn a $300 travel credit to cover that. Need to take a meeting before takeoff? Do it from the comfort of the Chase Sapphire Lounge by the club. Need to catch your breath before you board? Done. Chase Sapphire Reserved for business the business card that gives back all you put in. Visit chase.com Reserve Business to learn more. Cards issued by JP Morgan Chase Bank. Any member FDIC subject to credit approval terms apply.
- [34:20]
Grainger Advertiser
If you're a QuickBooks customer looking to grow your business without the growing pains you need, the Intuit ERP Upgrade to Intuit Enterprise Suite in a matter of hours. It's the AI native ERP from the makers of QuickBooks. Learn more@intuit.com ERP hey everyone, it's Cal Penn.
- [34:38]
Cal Penn
I'm inviting you to join the best sounding book club you've ever heard with my podcast Hearsay, The Audible and iHeart Audiobook Club. Every episode I nerd out with amazing guests and dive into the best new audiobooks available on Audible. It's the book club for your ears. Listen to Irsay, the audible and and iHeart audiobook club on the iHeartradio app or wherever you get your podcasts.