← Takin' A Walk - Music History with Buzz Knight
Takin' A Walk - Music History with Buzz Knight
Celebrating his memoir -"The Royal We" with Roddy Bottum
00:30:28
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- [00:01]
Host
Taking a walk.
- [00:01]
Roddy Bottom
And I remember at one point, like, I didn't know how to set up that keyboard stand because I I had never set it up. I was like, oh, I'm not doing this anymore. I'm not having to set my keyboard up on the stage. I don't even know how to set that keyboard stand up. I was like, oh my God. I had to check myself, like, oh my God. I am very entitled right now.
- [00:23]
Buzz Knight
Take a stroll down memory lane. Today on Buzz Knight, Taking a Walk steps into the vivid, untamed world of Roddy Bottom. From the keys that drove Faith no More's unclassifiable sound to the shimmering pop of Imperial Teen, Roddy's journey through music mirrors his fearless journey through life. Now with his new memoir, the Royal We, Roddy Cracks Open the Vault, offering stories of 1980s San Francisco wild nights with punk and alt legends and the raw honesty of coming out when it meant risking everything.
- [01:01]
Narrator/Advertiser
What secrets does Roddy Bottom's walk reveal?
- [01:04]
Buzz Knight
And how does retracing these steps rewrite his own soundtrack? Well, I ask you to lace up. This stroll promises revelations, laughter, and a backstage pass to decades of reinvention, resilience, and unbelievable storytelling. Coming up after these words.
- [01:25]
Advertiser
This is an iHeart podcast.
- [01:29]
Narrator/Advertiser
Every music lover has that moment you hear or read something that stops you in your tracks. A forgotten B side, an offhand comment in an interview, A connection. Nobody else noticed that. Curiosity. That's where Claude comes in. Claude is AI for people who don't stop at the surface. It helps you explore the real stories behind the music, not with quick answers, but by working through the discovery with you, matching your level of curiosity. Try Claude for free @Claude AI buzz this episode of Taking a Walk is brought to you by Chase Sapphire Reserve. Whether I'm booking my next vacation or going to a concert, Chase Sapphire Reserve is my gateway to the world's most captivating destinations. When I use my Chase Sapphire Reserve card, I I get eight times points on all the purchases I make through Chase Travel and even access to one of a kind experiences like music festivals and sports events. And that's not even mentioning how the card gets me into the Sapphire Lounge by the club at select airports nationwide. No matter where I'm walking, travel is more rewarding with Chase Sapphire Reserve. Discover more@chase.com Sapphire Reserve click cards issued by JP Morgan Chase Bank NA member FDIC subject to credit approval Terms apply.
- [02:56]
Roddy Bottom
I turned off news altogether. I hate to say it, but I don't trust much of anything. It's the rage bait it feels like it's trying to divide people. We got clear facts. Maybe we could calm down a little bit.
- [03:15]
Host
NBC News brings you clear reporting. Let's meet at the facts. Let's move forward from there. NBC News, reporting for America, Limu Emu.
- [03:27]
Liberty Mutual Voice 1
And Doug. Here we have the Limu Emu in its natural habitat, helping people customize their car insurance and save hundreds with Liberty Mutual. Fascinating. It's accompanied by his natural ally, Doug.
- [03:43]
Liberty Mutual Voice 2
Uh, Limu is that guy with the binoculars watching us.
- [03:45]
Liberty Mutual Voice 1
Cut the camera. They see us.
- [03:47]
Liberty Mutual Voice 2
Only pay for what you need@libertymutual.com Liberty Liberty.
- [03:50]
Roddy Bottom
Liberty.
- [03:51]
Liberty Mutual Voice 2
Liberty Savings. Very underwritten by Liberty Mutual Insurance Company and affiliates. Excludes Massachusetts.
- [03:58]
IBM Advertiser
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- [04:28]
Host
Taking a walk.
- [04:29]
Buzz Knight
Well, welcome, Roddy, to the Taking a Walk podcast.
- [04:33]
Roddy Bottom
Thank you, Buzz. I'm happy to be here.
- [04:35]
Buzz Knight
So I like to ask this opening question, Roddy. It's a little bit of an icebreaker question, but it also gets answered in all different ways by everybody. If you could take a walk with someone, living or dead, who would you take a walk with? And where would you take that walk with them?
- [04:54]
Roddy Bottom
Oh, wow, that's a good one. I really like. I just finished that second Ocean Born book. I've seen him speak a little bit, and he seems like a really nice time. I'd like to take a walk with him. He lives in Massachusetts, so I would like to take a walk with him up on the Cape, around Provincetown. Like in the. Not in the busy part of Provincetown, but there are some lakes, some ponds in Provincetown that are really pretty. I think that would be apt for a nice conversation for me and Ocean. I was in Massachusetts last week. I did my first sort of reading for this book, and I went to meet my niece in a cafe, and I got there early, and Oceanbaum was there in the cafe. I recognized him. He was sitting and reading. And so I feel we're kind of, like, connected.
- [05:47]
Buzz Knight
That's pretty cool you didn't stop by to visit me in the metro west suburbs of Boston. I'm so disappointed, Ronnie.
- [05:57]
Roddy Bottom
It wasn't Boston. We were in Northampton in Western Mass.
- [06:02]
Buzz Knight
All right, I'm. I'm teasing you. That's far. That's an hour and a half, two hours away. But, yeah, it's a ways we felt your royal we presence, Roddy. Yes. Congratulations on the royal.
- [06:17]
Roddy Bottom
We thank you very much.
- [06:19]
Buzz Knight
Buzz, tell me, how long of a process was this for you to create this work?
- [06:28]
Roddy Bottom
You know, that's a good question. I kind of, like, I talked about in an early draft of the book that sort of. I always considered myself from an early age to be a writer, but I'd never written anything, and I never really did write anything. And I was getting on to be, like, almost 60 years old, and I was like, yeah, I'm a writer, but I've never written, like, I write, like, cute texts to people, and I write pretty good email up to that point. And I had a conversation with my friend JD and she was like, well, do you do your morning pages? And I was like, what is that? And as I said it, I knew exactly what she meant. Morning pages can only mean one thing. It means getting up in the morning and writing. That's part of that book, the artist's way. And everybody. A lot of people use that sort of process, but she sort of brought that to my attention, and I was like, wow, I have a lot to say, and I should really start writing it down right about now. So I started. That was, like, about a year and a half ago. I started waking up in the morning, and I would just write for an hour every day. And I didn't really have a design to sort of writing a book, but it became a book. I kind of started writing all the stories that have happened to me in my life, and there's a lot of them that I find myself repeating. And so I know those stories really well, and it was kind of easy to just sort of, like, flesh them out in the mornings. But I think I wrote probably for close to a year, and I had a pretty big sort of semblance of a book of a memoir of my life at that point. So I guess I kind of took a year to sort of, like, get everything down, and then it took another six months, I think, to edit stuff out.
- [08:10]
Buzz Knight
And how difficult was the editing? That must be painstaking for someone who has poured themselves into it and. And has taken people through your life. So how difficult and painstaking is the editing?
- [08:27]
Roddy Bottom
You know, you'd think the edit would be rough. And I hear people, like, toil over it and talk about what a process it is and how difficult it is. But honestly, like, my whole life, I think, spent the craft that I've sort of, like, spent time with music especially. But writing also now has always sort of benefited from sort of, like, stripping things away. I'm in a band right now called Crickets. And our whole process is to record, to make songs and then strip things away from those songs and have just the bare bones and the necessary sort of elements that we found work alone. And it's a really beautiful process that sort of has sort of, like, pushed me into other fields, like writing, especially to sort of, like, strip things away and sort of recognize the benefits of that. And I don't know what it is. It's just. I think my intuition is pretty strong when I sort of sit down and decide what to cut away, I'm pretty sure what is sort of like overage and can be taken away pretty easily. And after it's done, I feel really refreshed and good. Like I've shed something that doesn't need to be there and I don't know it's from. So for me, the long answer there is like. It was kind of a better experience than a painful one. I liked stripping things down. I liked getting rid of stuff.
- [09:56]
Buzz Knight
Now, had you also, in thinking of your musical career, there's a few musicians I've noted over time who are fascinated by, I don't know, reinventing, reimagining, re. Engineering things, you know, have you been someone, as a musician fixated on reverse engineering things ever?
- [10:22]
Roddy Bottom
I don't know. That's a good question. It feels like. I mean, I think from an outside perspective, looking at what I've done over the course of my life, it looks like I've sort of shifted gears quite a bit and changed costumes quite a bit and sort of, like, switched things up and that there's been some sort of design in which I'm sort of entertaining to do that. But it's kind of, I think, at the bottom of it all, it's just sort of like. I kind of just do what's comfortable to me. But, like, I think it's for myself. I can only speak for myself. As I got older, sort of my taste changed and what I like and what I appreciate changed. Like, when I was a kid, like, doing Faith no More and making that sort of raucous, loud bombardment of cacophony is so loud and so obnoxious. It just felt right at that age, you know, at 20 years old, when you're exploring for the first time and joining a band for the first time, for me, anyway, it was all about, like, making the most noise I could. And I was in a band and we were all sort of, like, competitive in that way. We'd all make, you know, be as loud as we could. And it was sort of like, who could be the loudest? Whose part could scream the loudest kind of one. And as I got older, I sort of like, you know, sort of refined my taste and sort of like, maybe grew up a little bit. As I've gotten older, like, I think me as a person, I've changed. And I think all the stuff that I've done with regards to music and writing and production kind of reflects that. I think a maturity. It sounds really boring and old and kind of ridiculous, but I think it's like, I'm going to say, yeah, there's a maturity that set in that sort of pushed me into different directions. But at the core of it, I always feel like I'm being myself. I'm not that different than I was when I was a kid. I'm just a little quieter maybe, and a little more thoughtful and sort of like what I do.
- [12:20]
Buzz Knight
It's called evolving.
- [12:21]
Roddy Bottom
Yeah, Evolution, Buzz. It's that.
- [12:23]
Ryan Seacrest
Yeah.
- [12:24]
Buzz Knight
Yeah, for sure. So what was the first moment you were connected with music and what music was it that you connected with?
- [12:35]
Roddy Bottom
Yeah, it's such an awakening when you kind of come across music. I think I had a piano when I was a kid, when I was really little. I was 4 or 5. And I think having that in the house was a sort of gift to like, sort of a kid that has that sort of taste for sort of sound and. And melody and what the craft of a song could be. It was a real luxury to have as a kid, like to be able to sit at that piano when I was really young and just like, do whatever I wanted. That was sort of my introduction to sort of like, oh, I can create things and I can make sounds and I can play something, I think repetitively over and over and, oh, that's like a hook in my little head. I was like, oh, that sounds good. Just keep doing it and keep doing it and then kind of go away from it and do something else and then come back to that thing that I was doing over and over and, oh, wow, it's like magic. I remember acknowledging that when I was super young, like I was five and. And then I started taking piano lessons like around that age when I was 6, and sort of like sunk into the piano in a really, like, intense way and did it kind of until like, I graduated from high school, I think, and went to college. In terms of popular music, though, it's kind of. I think my parents, they weren't super hit parents, but they had at one point they brought Home Bridge Over Troubled Water, the Simon and Garfunkel record. And that changed my life. I remember just listening to that over and over and over and reading the words and holding the record cover and knowing that these two guys, these two friends, had made this music. That was fascinating to me. That was kind of the beginning, I think, of my obsession with, like, rock, I guess that's so fascinating.
- [14:29]
Buzz Knight
Thinking about that particular duo influencing you and then following your career and your trajectory. I think it's so cool. I'm layering that on top of the first time. I remember, like, a lot of people hearing Faith no More and going, wait a minute, what do I call this? This is so many different things. Like, you were describing it earlier, which was the. I think the magical piece we all became fixated with. Tell me how you think about it now. Do you. I'm not asking you to contradict yourself from your earlier statements here, but when you reflect on Faith no More now and the legacy left, what are your thoughts on it?
- [15:24]
Roddy Bottom
It's a super. The Faith no More era for me. Like, it started when I was pretty young, like I was saying earlier, and it remains super special to me. It was a sort of project in which, like, Billy, who I grew up with, he was the bass player of Faith no More. We grew up together and went to grammar school together. So we were really close. And we moved to San Francisco at the same time, and we were on the same sort of journey. And it was a really special time in our lives. Like being 20 years old and moving away from your family or. I mean, we were actually. I was 17, but we started the band, I think, when we were probably 18 or 19. But that specific age for me was very potent. It was. I was just so sort of, like, overwhelmingly, like, in tune with, like, what was going on in San Francisco, which I kind of write about in my book, was such a special place. And it created this fascinating sort of, like, combination of sort of different things. Like, we met the drummer who was sort of, like, into, like, really, like, busy, kind of like African beats, sort of like. And we started playing with a guitar player later on who was, like, immersed in sort of, like, big chunka chunka hard, loud rock. I was not anything close to that. Billy and I were really into punk rock and sort of performance art and weird art music like Throbbing Gristle and strange sort of odd stuff that came from England that we were obsessed with, like, crass and weird sounds. So for us, sort of it was this crazy, just combination of all these different people coming together and, and making it work. But what I was talking about earlier was like, we did have a really competitive sort of sense in our songwriting where we all sort of like we're bringing different things to the table and we had to do it in such a way where our voices were heard. And it was a special thing for myself as a keyboard player to be in that situation because it was a really loud sort of music and to bring in keyboards into that was sort of like. It was a little bit of a. Like, what is that? It was a good opportunity for me as a gay kid in that sort of scenario to bring in like a sense of sort of beauty into the cacophony that we were sort of creating. And it took a lot. I had to sort of like step up to the plate and I had to fight for sort of like what I was and what I was bringing into the band at the time. Which is not to say we were all fighting. We fought an awful lot in that band. But we created this special thing where it was like a lot of different voices coming together. And that was really special at that time in my life. And it's still special now. I look back on it with only fondness.
- [18:19]
Host
We'll be right back with more of the Taking a Walk Podcast.
- [18:24]
Narrator/Advertiser
Every music story has layers most people never discover. The session musician who created that signature lick, the studio accident that became a classic sound, the cultural moment that made a song possible. That's when you need Claude AI Built for minds that can't stop at the first answer. Comb through interviews, biographies, recording session notes, Claude analyzes up to 200 pages instantly and can reveal connections across decades of music history. Need to verify claims about music legends? Claude searches the web and cross references sources with citations you can check. But here's what's different. Claude doesn't just give you quick facts. It works through the problem with you step by step. It's built for people who know that understanding music means understanding the culture, technology, and human stories behind the sounds. Whether you're researching your favorite artist, exploring genre evolution, or discovering untold music history, Claude matches your curiosity about what really happened. See why the world's best problem solvers choose Claude as their thinking partner and try for free at Claude AI Buzz. This episode of Taking a Walk is brought to you by Chase Sapphire Reserve. Whether I'm booking my next vacation or going to a concert, Chase Sapphire Reserve is my gateway to the world's most captivating destinations.
- [19:55]
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- [21:33]
Liberty Mutual Voice 1
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- [21:51]
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Liberty Mutual Voice 1
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- [21:55]
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- [22:03]
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- [22:38]
Host
Welcome back to the Taking a Walk podcast.
- [22:42]
Buzz Knight
Do you remember the first moment when you realized that Faith no More went from being underground to having global recognition?
- [22:53]
Roddy Bottom
I remember at one point we toured so much so it was kind of like a really slow transition from like the van, you know, five of us in a van loading our own equipment to sort of like playing bigger theaters. But I remember at one point, I had a new keyboard stand. And I realized at one point, like, a couple months later, and we'd been touring for, like, you know, we were just tour and tour and tour. We'd probably been touring for a year and a half at that point without a break. And I remember at one point, like, I didn't know how to set up that keyboard stand because I had never set it up. I was like, oh, I'm not doing this anymore. I'm not having to set my keyboard up on the stage. I don't even know how to set that up. Keyboard stand up. And I was like, oh, my God. I had to check myself. Like, oh, my God. I am very entitled right now. But that was a moment.
- [23:52]
Buzz Knight
Was there a live performance that in particular stands out with Faith no More? That was kind of transformative.
- [24:03]
Roddy Bottom
Yeah. I think when we started playing, like, it took us a really long time as Faith no More to sort of, like, get any sort of notoriety in the US we would tour and tour and tour, and people would come to the shows, and we had a pretty good sort of like, following. But it wasn't until we went to England that people really started getting into the band in a sort of a big kind of way. And during that stage of our career, we kept going back and forth from England to America to England to America. And I remember, like, we were kind of big in England and America didn't quite get it. And I remember sort of like our managers brought our record company, the people in our record company from America over to England to see kind of like, what was happening with us there. And I remember playing that show in London, and I remember, like, even before we went on, like, the audience was really rabid and they were pushing, pushing, pushing. And then we started the first song, and they broke the barriers, and the audience was, like, coming to the stage, and it was super exciting, but kind of dangerous. We had to stop the show and then start it again. But I remember at that moment, like, oh, wow. Yeah, this is really, like, a really popular thing. And it was sort of like the record company, our American record company, being in the audience at the side of the stage and watching it. I remember looking at them and they were shocked. Like, oh, wow. Oh, okay. Like, oh, this is a big band. And it felt like a turning point for who we are and what we do.
- [25:36]
Buzz Knight
A light bulb moment, for sure.
- [25:38]
Roddy Bottom
Yeah. I think they saw, like, oh, my gosh. Opportunity, you know.
- [25:42]
Buzz Knight
Oh, no. A record company wouldn't think that way. Roddy, come on, please.
- [25:48]
Roddy Bottom
Yeah.
- [25:49]
Buzz Knight
So then you went on to co found Imperial Teen, which was a completely different vibe. More pop, for sure. How did that shift reflect where you were personally and musically at that time?
- [26:12]
Roddy Bottom
Yeah, it was a big shift for me to sort of, like. We were still doing Faith no More at the time, but I think I had recently got sober, which was a big change in my life, and a lot happened. I write about it in the book, but a lot happened all at once. Like, my father passed away. Passed away. Kurt Cobain was a good friend and he passed away. And another guy I knew, Cliff, who I had gone through sort of rehab with three people, three big people in my life, all passed away within the course of, like, two weeks. And I had recently got sober. And it was just sort of like. I think it was a point in my life about sort of prioritizing things. And. I don't know. For some reason, I felt like I had more to say than just playing the keyboard in Faith no More More, which is. I don't know. I mean, there was a. It was sort of like an opportunity to sort of do something else also. And I did that for a while. So it was. It was, like, possible to, like, continue playing in Faith no More, but to also sort of, like, start my own thing and play a different instrument and sing and write songs with people. It just felt sort of like something that I needed to do in a safe space that I kind of needed to be in. I don't know. I haven't thought about it for a while. I mean, I just wrote a book, and a lot of it's about that sort of chapter, but I haven't really spoken about it in a while. It feels weird to hear myself talking about it in those terms. Like. I mean, Faith no More was not a toxic place to be at all, but it was just something I think that I had done for quite a while. I had done for, like, you know, coming up on 15 years. And it just felt like sort of. I owed it to myself to sort of, like, sing, to be able to express words on stage and to also sort of, like, try new things. So that was the opportunity. And it was also an opportunity to sort of, like, we were in a very sort of toxic place in the world in terms of homophobia. And it was a good place to be able to sing gay lyrics and to be able to sort of, like, share things about us as people as a Gay community. That felt really strong to me and very honest. It felt good at the time.
- [28:29]
Buzz Knight
Which leads me really to the fact that. Have you seen the music industry take a shift in terms of its inclusivity, especially for queer artists? You know, since the days that you're referencing, I mean, have you noted the shift in terms of the way the industry is?
- [28:51]
Roddy Bottom
Yeah, I think absolutely. The industry's changed, and people's perspectives in terms of, like, accepting, like, queer people on stage or queer voices in the world have radically changed. Like, when I was a kid, like, I talk about this in the book too, but when I was a kid, I didn't really have any role models. There was really no one I could look up to in terms of sort of, like, gay voices in the media. It was so shunned and people were so sort of like, quiet about their homosexuality. And people didn't hear that. People hid that, like, you know, I mean, watching that Peewee Herman documentary, I was like, oh, my God, like. Like what he went through and what people went through, what we went through as a people in that time was so such a struggle. It feels like now, more importantly than the industry having changed is like, sort of like the consensus of the world sort of perspectives has changed. People are way more willing to listen to a queer voice and not to be sort of thrown by sort of like the difference of that between their own straight voices. I think when the industry sort of got on board, which is kind of what you were hinting at earlier, it was sort of like, more than anything, I think, queer voices and queer sort of like product and queer songs were sort of an opportunity. And when it became clear, I think, to record companies that, oh, this was sort of a viable sort of like, income channel, then it was a lot easier to sort of get on board with the queer voice.
- [30:18]
Buzz Knight
You know, there I was being facetious earlier about it, and then it comes back and it's actually a reality. It's not my facetiousness so seeping through?
- [30:29]
Roddy Bottom
No, not at all.
- [30:31]
Buzz Knight
So when you sit down at the the Keys today, what inspires you and. And what's different? And you reference it a bit earlier as well. What's different than your younger self in terms of that inspiration?
- [30:50]
Roddy Bottom
I think I kind of. When I make music now, I'm sort of specific in what I'm doing. I'm like. I'm involved in a lot of projects. I have a lot of bands and I think sort of like my Crickets I was talking about earlier is a really simple band and, like, I approach that with one sort of, like, really simple, sort of, like, spectral sort of, like, process. Like, I know it's really, like, a simple bass line and a simple drum machine and a simple guitar. And I think about that sort of, like, creation or production or writing in a very specific way. Imperial Teen is the same way, but different. When we write together, we have sort of a go to that's based a lot on lyrics that's more sort of lyrically driven, I think. So through the lens of maybe sort of words more. With Imperial Teen, I'm kind of trying to finish this musical now. And that's very specific, too, in the sort of, like, also very word driven. But it's a way different kind of music, you know? And I'm thinking about in terms of, like, what will be on stage at that point, like, in a musical, and how many instruments will there be. I think when I was a kid, I would just sit down. Like, when I was talking about, like, the piano, I would just sit down and just, like, bang on the piano or do whatever I want and create something and have no real purpose. Just sort of, like, entertain myself. I think the difference now is that I have, like, sort of, like, I know what I'm doing a little bit more, and I'm really specific. When I sit down, start creating, I know that it's going to a specific project.
- [32:21]
Buzz Knight
And what are you listening to now that you can share? That would be a glimpse into your personal playlist.
- [32:28]
Roddy Bottom
I don't know. I tend to listen to, like. I don't know for a lot of women. A lot of women I don't know. I think I was raised, like, by three sisters and my mom, basically. My father died when I was pretty young, but there was always been a lot of women in my life. So I think, like, I was just recognizing this the other day. I work at my boyfriend's shop, and I. He has a store here in Provincetown called the Old Baby, and I work at it, and we play music. And that's the sort of. The. The one thing you get. One of the perks of working behind a counter is you get to choose the music. And I was thinking that the other day, like, why am I only playing, like, women? I was like, that's just what I'm comfortable with, I guess. So I was listening to the other day, Sarah Mary Chadwick. I don't know if you know her. She's from Australia.
- [33:14]
Buzz Knight
I don't.
- [33:14]
Roddy Bottom
She's a really intense, beautiful songwriter. I love her music so much. I also listened the other day to Frightwig, which is an old band from San Francisco that was an all women band that I really, really like a whole lot. Stanning on the Clams I played too. I really like that band. They're sort of from Oakland, Los Angeles, California based. That's all I can think of right now.
- [33:39]
Buzz Knight
Some pretty, pretty good ones. I don't know them but I love exploring and finding.
- [33:45]
Roddy Bottom
That's good.
- [33:46]
Buzz Knight
Finding new, new things. So. Okay, so in closing, if a musician who's fighting to be heard to stay independent but trying to break through in the industry is listening to this podcast, what advice would you give them?
- [34:06]
Roddy Bottom
Like a musician kid, someone that's creating stuff and hoping to have some sort of success.
- [34:12]
Buzz Knight
Yes.
- [34:13]
Roddy Bottom
Yeah, that's a hard one. Like it's so hard right now to like go out in the world and sort of like. I mean if we're talking about making money, it's really hard to make money. It's hard to break even, especially as a band right now. The flip side of that though is it's so easy to make music without sort of like spending a lot of money, which when I was a kid that wasn't such. It wasn't an opportunity we, we. That we had. We weren't able to sort of like make. I mean we did, we made music on four tracks, but it was really crappy music and didn't sound so good. But it seems like these days it's a lot easier to sort of like sit down with a computer and plug stuff in and make something that sounds the way you want it to sound. The opportunity for sort of creation is a lot more cheap these days and a lot more easy. And it feels like, I think kids know this already but like technology is such a good thing to sort of wrap your head around. To be able to record yourself, to be able to sort of like create something on your own without having to pay someone money or without having to sort of go into a studio. Seems really smart. Also, I think it's just sort of like that thing that people always say, sort of tenacity and sort of like keeping at it and just keeping doing what you're doing and being comfortable sort of with the doing I think is really key to sort of like success. And I'm talking about success in terms of making yourself happy and getting to a place where you're sort of comfortable, sort of like and happy and proud of yourself. I'm not talking so much about money. The money part is like, I don't know how that works. I mean, I think there's accidentally things that happen that sort of put you into sort of like a place of sort of making money but like success in terms of happiness. It just seems like people are best sort of like working on their craft and becoming better and better at what they do, finding their voices.
- [36:14]
Buzz Knight
That's a brilliant way to end because I think the the road to success for so many people is about oh, I need you know, to make that money. I need the next thing and I I subscribe to that. When is enough enough in regard to that that how about just pursuing it from happiness and creative spirit. Right.
- [36:37]
Roddy Bottom
That's a good place to start anyway.
- [36:40]
Buzz Knight
Sure is. That's and the royal we I want to congratulate you on that again your your new memoir. Thank you. And Roddy, it's been so nice to have you on Taking a Walk. I really, really appreciate it.
- [36:54]
Roddy Bottom
Buzz. Thank you so much for having me. It's a fun chat.
- [36:59]
Host
Thanks for listening to this episode of the Taking a Walk podcast. Share this and other episodes with your friends and follow us so you never miss an episode. Taking a Walk is available on the iHeartRadio app, Apple Podcasts, and wherever you get your podcasts.
- [37:16]
Narrator/Advertiser
Taking a Walk is made possible by the support of our great sponsors and we thank them, including Chase Sapphire Reserve. My gateway to the world's most captivating destinations is from Chase Sapphire Reserve. Claude AI. Try Cloud for free at Claude AI Buzz and Lexus Experience amazing at your Lexus dealer. Now music history is full of hidden connections just like everything else worth understanding. If you're someone who can't help but dig deeper, who sees problems as puzzles worth solving, Claude is for you. It's built for people that don't settle for surface level answers. Claude works with you on whatever you're curious about, helping you explore ideas and connect dots in ways that might surprise you not by thinking for you, but with you. See why the world's best problem solvers choose Claude as their thinking partner and try Claude for free at Claude AI Buzz. This episode of Taking a Walk is brought to you by Chase Sapphire Reserve. Whether I'm booking my next vacation or going to a concert, Chase Sapphire Reserve is my gateway to the world's most captivating destinations. When I use my Chase Sapphire Reserve card, I get eight times points on all the purchases I make through Chase Travel and even access to one of a kind experiences like music festivals and sports events. And that's not even mentioning how the card gets me into the Sapphire Lounge by the club, at select airports nationwide. No matter where I'm walking, travel is more rewarding with Chase Sapphire Reserve. Discover more@chase.com Sapphire Reserve cards issued by JP Morgan Chase Bank NA member FDIC subject to credit approval terms apply.
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Advertiser
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