← Takin' A Walk - Music History with Buzz Knight
Takin' A Walk - Music History with Buzz Knight
Takin' a Walk w/Buzz Knight: Legendary Musician Bernie Leadon Reflects on His Remarkable Journey in Music-From The Eagles to Solo Music
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Taking a walk. I have had a lot of great friends and people that were benefactors and advocates for me and helpers and mentors, and I'm just really grateful to all of them. You know, nobody progresses without help, really. What do you get when you mix a banjo, a Stratocaster, and a restless spirit of musical adventure? You get a career that helps set the foundation for one of the biggest bands in rock history and a musical journey that spans four folk clubs, country stages, and the California sound of the 70s. I'm Buzz Knight, and on this Takin A Walk episode, I'm joined by guitarist, songwriter, and original eagle, Bernie Leddon. Bernie has always been a seeker, never content to stay in one lane, always looking for the crossroads where tradition and innovation meet. From his days shaping bluegrass and country rock with the Flying Burrito Brothers to co founding the Eagles and writing classics that still echo through the airwave, his story is one of quiet but undeniable impact. So join me on this episode through the life and music of a true pioneer, Bernie Letton. Coming up after these words, this is an iHeart podcast. Guaranteed Human. Malcolm Gladwell here. This season on Revisionist History. We're going back to the spring of 1988 to a town in northwest Alabama where a man committed a crime that would spiral out of control. And he said, I've been in prison 24, 25 years. That's probably not long enough. I didn't kill him. From Revisionist History, this is the Alabama Murders. Listen to Revisionist History, the Alabama murders on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Whether it is getting swatted or just hateful messages online, there is a lot of harm and even just reading the comments. That's cybersecurity expert Camille Stewart Gloucester on the Therapy for Black Girls podcast. Every season is a chance to grow, and the Therapy for Black Girls podcast is here to walk with you. I'm Dr. Joy Hardin Bradford, and each week we dive into real conversations that help you move with more clarity and confidence. This episode, we're breaking down what really happens to your information online and how to protect yourself with intention. Listen to Therapy for Black Girls on the iHeartRadio app. Apple Podcasts are wherever you get your podcasts. We've all been there. You hold on to a coupon but forget about it and suddenly it's expired. Expired in 2012. Dang it. Fortunately, by switching to Geico, you could save about $900 on car insurance without ever touching a coupon. It feels good to save Big. It feels good to Geico. Taking a Walk. Well, Bernie, it's an honor having you on the Taking a Walk podcast. It's an honor to be here. So since we call this podcast Taking a Walk, we get into the brand new Too Late To Be Cool release and everything that's been going on. I'd like to ask this little opening question here. 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? Jesus Christ. And wherever it was would be up to him because. And if you wanted to be somewhere else, you just take us there. I love that. Wonderful. Well, Bernie, congratulations on the brand new music. First of all, Too Late to Be Cool. You must be so excited to get this out to the world. Yeah, I really am. I'm actually extremely happy with the record. I haven't released anything for, I think somebody said, 23 years or something, but I went out on the road with The Eagles in 2013 through 2015 in the history of the Eagles tour and just got excited about playing and singing every day again. And so when the tour ended, I decided to spend more time writing and so I built up a pile of songs and then of course you want to record them and I built a new building for my recording gear. And then my old friend Glenn Johns, who produced the first two and a half Eagles albums, came over from England and. And we did two batches of recording last year and in early January this year. And so anyway, he's so experienced that we're such good friends, we know each other so well, but he just works so fast and smoothly. He makes decisions on the fly. And we recorded the 2 inch 16 track analog tape. So you have to make decisions, right, because there's no room for 43 guitar parts or 17 vocals or whatever. So we got on with it. The whole thing, you know, took about three weeks, maybe four to mix it and everything, but it just, it sounds fresh to me still. And so I'm just so happy about that, you know. And you had stayed in contact with Glenn over the years, hadn't you? Yeah, he start after I left the Eagles in 75, he. He began using me on recording sessions in England and also in mostly Los Angeles. A lot of different people. Nancy Griffith later watched that again. You know, some different bands. John Hyatt and it's all. It's always fun to work with Glenn. He's. He's just a dear friend and, and he's so good at what he does. I'm Just always trying to understand it better, you know, so it was a lot of fun. I want to come back to the new music, but I do want to ask you about Nashville because you're outside of Nashville, and the Nashville community is a pretty amazing place to be. How does that community inspire you? Well, it's, you know, they. They have a catchphrase that they use around here. It all begins with a song. So that's nice that they give the songwriter kind of prominence in the food chain of. Of making music, you know, and. And you probably know that in New York back in the 50s and 60s, there was a place called the Brill Building. And it was a building in which all the songwriters and all the publishers pretty much all had offices. So again, it was music, bro was a little bit like that, where the community was literally bumping into each other on the stairs, in the hallway, and serendipity would put people together and stuff would happen, you know. So Nashville always was like that as a songwriting community. And there's some funny stories about. Well, Harlan Howard was. Is this infamous Nashville songwriter who wrote just, I don't know, hundreds of hundreds of hits. But their story was he. He would write, have some fresh songs, and he dropped by somebody's session at 10 in the morning. They had three other songs ready to record on somebody. And they'd say, well, Harland, you got anything today? And he'd play em a song and they'd go, oh, it's space. We're gonna cut that right now. And they'd bump the first song and then they'd ask him, you got anything else? And that you play him. So they bump all three songs from this artist they were recording and record three Harlan Howard songs and usually there'd be a hit. So I mean, he was so good at it. But it's really a great community and everybody supports each other and everybody cheers for one another. And it's really cool. So when you look back at your musical journey from the Eagles to the Flying Burrito Brothers and beyond, what moments do you feel like were the biggest crossroad moments? Well, I wouldn't actually pick a musical event. I just went out to LA to go to the memorial service of a dear friend that I met in 1963, let's say in San Diego. And he was ex Navy diver and they owned a little music store and they had a bluegrass band called the Scottsville Squirrel Barkers. Chris Hillman, later of the Birds, was the mandolin player. But I've traced back my career from the Eagles backwards. And it all goes back to this guy Larry Murray in San Diego, because he invited me later to come out to LA and join him on a singing group on capitol records in 1967. And he also produced and was responsible for Linda Ronstadt. So he started using me on sessions. But again, it all goes back to this guy Larry. And every thing positive connection in my career was. You can trace it all the way through it. So I'm really glad to realize that. And I have had a lot of great friends and people that were benefactors and advocates for me and helpers and mentors, and I'm just really grateful to all of them. You know, nobody progresses without help, really. What was it like being a friend and a collaborator with the great Graham Parsons? Graham was a lot of fun, you know, one of the things people don't talk about. So for those that don't know, Graham Parsons was from. He was from Waycross, Georgia. He was from a well to do family. He was a trust fund kid. He went to Harvard for a minute and left. Started a band and international submarine band in Boston, ended up in la. Got in the Birds later in the Birds career. He left the Birds before the Sweetheart the Radio album was released. A lot of his vocals were replaced. But he then Chris Hillman left the Birds and the two of them formed the Flying Burrito Brothers. I was on the second Burrito album. The first Burrito album is actually brilliant and genius. And one of the things people don't mention about Graham because he's credited with. People call him the father of country rock. And the Eagles emulated that model. But he added R and B influences also to the mix that he called cosmic American music. You know, the Eagles also mixed in R and B with country and folk and rock and pop. Graham was just a lot of fun. Unfortunately, he was an alcoholic and he hung out with. He quit the Burritos and went to live with the Rolling Stones in the south of France when they were like, I'm not sure what album they were making, but he tried to keep up with Keith Richards. And the truth is nobody has ever kept up with Keith Richards as far as staying up and in doing things that perhaps wouldn't be advisable to do for very long. So Keith's still with us and Graham died at 26, you know, tragically, but brilliant guy. And it's so important, I think, as generations advance, to keep folks like Graham's name and his music and his influence alive, don't you think? I do. And I have to give credit to Amylou Harris, who pretty much took on that, the mantle of doing that. You know, she's kind of been the curator of Graham's legacy by recording every song pretty much that he wrote that, you know, she liked. And I mean, she recorded almost all his stuff and so she's definitely one. And there's, there's a lot of bands that have emulated Graham in some way, but. But Emmy has kept his actual catalog and actual songs alive, you know, And I just saw her the other day at a Linda Ronstadt tribute and she's still, she's still doing that, God bless her. Well, you mentioned Linda Ronstadt, so obviously your career and the Eagles were so intertwined with Linda. Talk about those moments, which, as I'm asking you the question, I'm such a fan of yours and your music and Linda's music. I have chills asking you the question. What was it like being with Linda and collaborating with her? Well, it's. It's been great. So, as I said, I, I joined a group that was already on Capitol records in late 1967, and Linda Ronstadt was signed to the same label, same producer, same A and R guy. And so he, that producer started using me on Linda sessions, which was the Stone Ponies, Linda Ronstadt and the Stone Ponies. So I played on Stone Ponies records actually in 1960, and then she started doing well as a solo artist and I was in her touring band and record, continued recording with her, but I was in a touring band. We were actually living in hotels in New York City the summer of 69 when Woodstock was happening, and we're playing clubs in Branch Village and in surrounding areas. And then I left and joined the Flying Burrito Brothers. And then the other soon to be Eagles, Don Henley and Glenn Frey and I think Randy also were. Were then in Linda's band after me. So some say we all came from Linda's band and we did, but not all at the same time, you know, but we were all in the same musical community in la, which actually was very similar to the Nashville community back then. You know, west la, the truly or club, the Ash Grove Club and all the other clubs around that had been folk clubs, and they became kind of a little bit electrified, but they still were, you know, 200, 250 seat show showrooms, showcase rooms, little mini theaters that served drinks, you know, and there was a whole bunch of them. It was just a network of clubs. You could play in the local area of la, which of course is huge, but you could hone your craft and Some people had a record deal, some people had a publishing deal, and we all just interacted, and that's how the world was at that time. And Ronstadt was always. Lindy was always part of it. What a gem she is, huh? My God. Yeah. Amazing. I mean, actually, when I first started playing with her, doing shows, I was the main harmony singer. And she sings so full voice and loud, like no restraint, that I had to let my voice open up or I. I would have sounded like a pipsqueak mouse next to her. And so it was really wonderful to. To sing with her, you know, and she was unrestrained with her voice and just such a natural talent, you know? But what, what a, what a gift to be able to sing with her. I love it. I love it. I love how everything has come full circle in that Henry Diltz is part of your. Your new work here in terms of his, his brilliance. I love Henry. He's been on the podcast a couple of times, and he's one of my favorites. Obviously, he goes back to some Eagles history there in terms of his work and cover art and everything. Can you take me back to some of that work that he did with the Eagles and what that was like then? Okay, so that Henry was not a studio photographer. His whole thing was to go on location, whether that was in L. A, but to go somewhere that there was some background that was interesting, and he just, he put the people in front of that. But in the case of the first Eagles album, so I got to tell you, this was the business plan for that photo shoot. Okay, we're going to go to the Troubadour Club and we're going to close it down. We're going to wait till they close at 1:30 in the morning, then we're going to get in our cars and drive 100 plus miles through Palm Springs to the upper desert to Joshua Tree National Monument. But we're not going to go into the front gate. We're going to go in this back way, through this neighborhood. It goes out in this. That leads to a little mountain about 10 miles in that had an old barber chair sitting on the top of it. Okay, so we get there and then we light a fire. And it's high desert, it's cold. We're at 5,000ft and nobody had winter clothes or anything. So we're just, we're like freezing and they light a fire. And then the art director who was with us, not Henry, but he just, he had brought some peyote buttons, so he just started. Started making peyote tea. So we sat up the rest of the night trying to stay warm by the fire, drinking peyote tea. And then the sun started coming up and you know, in photography there's a golden hour and near the sunset time, maybe 10, 15, 20 minutes also in the morning. So we're using the golden hour at first light at 5:30 in the morning, they stand us up in a group huddling together and we all rip like this because we're freezing and you know, like this. And that's the photo of us. That was the, that was the business plan of how to get a great, a great copy photo. Everything happens for a reason, doesn't it? Yeah, apparently. So what was it like, had you stayed in touch with Henry over the years? Yeah, I talked to him, I don't know, a few years ago. Of course, there's been documentaries. So the art. So the photo, that's the COVID of this album we actually did. It was Henry and the art director, Gary Burton, who did all the Eagles stuff too. So album covers together, Henry the photographer and Gary the art director. Anyway, he also participated in this and we, I had the idea of doing a photo after dark with the city lights of LA down below. But we started out in Malibu and the city lights looked about this big. So we, we went farther into town. We went on an expedition that night too, to find a spot where city lights were really bright. And we had to go all the way into Hollywood, up one of the canyons onto a lookout spot and, and did that. So anyway, but I made that cover for an album that was to come out 45 years ago and it never did. We didn't finish the album. So, hey, I paid for it back then, so we're using it. I love that. That's fantastic. We'll be right back with more of the Taking a Walk podcast. Malcolm Gladwell here. This season on Revisionist History, we're going back to the spring of 1988, to a town in northwest Alabama where a man committed a crime that would spiral out of control. 35 years. That's how long Elizabeth Senate's family waited for justice to occur. 35 long years. I want to figure out why this case went on for as long as it did, why it took so many bizarre and unsettling turns along the way, and why, despite our best efforts to resolve suffering, we all too often make suffering worse. He would say to himself, turn to the right, to the victim's family and apologize. Turn to the left. Tell my family I love him. So he had this Little practice. To the right. I'm sorry, to the left. I love you. From revisionist history, this is the Alabama Murders. Listen to Revisionist the Alabama murders on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Hi, I'm Radhi Devlukia and I am the host of a really good cry podcast. This week I am joined by Anna Runkle, also known as the crappy Childhood Fairy, a creator, teacher and guide, helping people heal from the lasting emotional wounds of unsafe or chaotic childhoods. We talk about how the things we went through when we were younger can still show up in our adult lives, in our relationships, our reactions, even in the way we feel in our own bodies. And Anna opens up about her own story. What helped her notice the patterns she was stuck in and how she slowly started teaching her body that it is safe now. So when I got attacked, it was very random. Four guys jumped out of a car and just started beating me and my friend. And they broke my jaw, my teeth. I was unconscious. Then I woke up and I screamed and I screamed because even though I didn't know who I was or where I was, something in me was just like, hold on, wait, they could kill me. And I'm not going to let that happen. I'm not going to let that happen. I'm going to get through this. And I did listen to a really good cry on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast. Like, if we're on the air here and I literally have my contract here and I'm looking at, you know, as soon as I sign this, I'm going to get a seven figure check. I've told them I won't be working here in two weeks. From the underground clubs that shaped global music to the pastors and creatives who built the cultural empire, the Atlanta Is podcast uncovers the stories behind one of the most influential cities in the world. The thing I love about Atlanta is that it's a city of hustlers, man. Each episode explores a different chapter of Atlanta's rise, featuring conversations with ludicrous Will Packer, Pastor Jamal Bryant, DJ drama, and more. The full series is available to listen to now. I really just had never experienced anything like what was going on in the city as far as, like, you know, seeing so many young, black, affluent creatives in all walks of life. The church had dwindled almost to nothing. And God said, this is your assignment. And that's like, how, you know, like, okay, oh, you from Atlanta for real? I ain't got to say too much. I'm Grady, baby. Shut up. Listen to Atlanta is on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast. You know the shade is always shadiest right here. Season six of the podcast Reasonably Shady with Gisele Bryant and Robin Dixon is here dropping every Monday as two of the founding members of the Real Housewives Potomac. We're giving you all the laughs, drama, and reality news you can handle. And, you know, we don't hold back. So come be reasonable or shady with us each and every Monday, I was going through a walk in my neighborhood. Out of the blue, I see this huge sign next to somebody's house. Okay, the sign says, my neighbor is a Karen. No way. I died laughing. I'm like, I have to know. You are lying. Humongous, y'. All. They had some time on their hands. Listen to Reasonably Shady from the Black Effect Podcast Network on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast. Hi, I'm Danny Shapiro, host of the hit podcast Family Secrets. We were in the car like a Rolling stone came on, and he said, there's a line in there about your mother. And I said, what. What I would do if I didn't feel like I was being accepted is choose an identity that other people can't have. I knew something had happened to me in the middle of the night, but I couldn't hold on to what had happened. These are just a few of the moving and important, important stories I'll be holding space for on my upcoming 13th season of Family Secrets. Whether you've been on this journey with me from season one or just joining the Family Secrets family, we're so happy to have you with us. I'll dive deep into the incredible power of secrets, the ones that shape our identities, test our relationships, and ultimately reveal who we truly are. Listen to Family secrets on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Welcome back to the Taking a Walk podcast. So you've always had tremendous musical curiosity and diverse tastes. Is there anything new that you've just discovered that you want to share from this curiosity? Well, there's a lot of different styles, I think, on the record, and. And the only criteria was I was trying to write good songs, you know, so there's. There are a lot of styles I've played and studied, and. And so they seem to come out when they're needed based on, you know, what. What the idea for the song is. And sometimes I start a Song with a guitar riff and you know, progression. It's kind of like an instrumental almost with a melody and plug. Words in other times that, you know, I started with words but I just kind of pull something out of my head that fits with it. There's a lot of different styles, you know, single this out now, now Too Late to be Cool. I mean, just a little. It's a rocker, kind of stonesy, but there's a couple ballads, you know, and there's acoustic jazz song on there called Everyone's Quirky with upright bass on it. And just in there's national steel body guitar, you know, kind of acoustic blues. There's a lot of different feels and flavors and you know, vibes. So that's cool. I love that. You know, it's like the central theme is, you know, it's just. It's me doing it and there's songs I wrote and, and once I learned that's it. That's the only criteria. Tell me about the song. Too Many Memories. Well, yeah, people seems to have related it to be mostly about the Eagles and that's because that's what they know about my life. But I left the Eagles in 1975 and I've had a whole full life doing all kinds of things. I have a 45 year old son, I'm happily married now and, and I've. Gosh, I. I've done so much traveling to all the places in America and Canada that are in between, all the big cities that the tourists go to. Because when you get to a certain level of touring, you, you go. It's a big circuit around the country. You play all the arenas and same hotels, same airport, same venue backstage and you go, wow, I've. I've been here, you know, 30 times. And so it was great to get out and go to all the places up in New England and you know, Montana and up in the Yukon Territory, Alaska. I've traveled a lot and done a lot of different things. And so when it says too many memories, I was just. The second verse says, I've lived many lifetimes in a single go. You know, in a single lifetime, I've lived a lot of different places, done a lot of different things and worn different hats in a way, you know. And so it's not that there are too many memories, but there's things that. It's probably more that there's still some things that have. That bothered me or that bothers a person. And you know, we need to, we need to take care of that and clean it up, you know, and so the song. The conclusion of the song is just, finally, just face all the shadows and let it all go, like, melt like fog on the meadow, you know, just let it go, Just let it dissolve. Focus on today. Be happy. Don't forget to smile. You know, I get a sense of real contentment, though, when I listen to the music from, you know, from you. Well, that's. That's good. I think that's good. There's enough people that are full of angst and expressing that, and I don't know that the world needs to be encouraged to have more angst. So, I mean, simple things like, let's enjoy the day, be present here, get out of the past, get out of the future, and just live today. And don't forget to smile, because it doesn't cost anything. You'll be playing at Americana Fest in September, which is an amazing event, I'm told. I've never been to Americana Fest. Is this your first time ever attending Americana Fest and playing? Of course, yeah, formally. But as the Americana Music association began, it started small, like most things do. It seems like most styles of music now are called Americana, if they don't know what else they call it. Lots of styles that were called something else before. Country, rock or whatever, folk, rock, bluegrass. Many things are now just limped in the Americana umbrella. And that's fun. It's probably good for everybody. Yeah. So the Americana Music Association's been. Part of. It, has grown up in Nashville, and so I've been around it and, you know, the people involved with it from the beginning. I've not attended it before formally. Like, now you buy a pass for the whole week. It used to just be a night or two, but I'm really looking forward to. Is kind of home base now, I guess. And you'll be taking people through not only the new music, but also through your career, won't you? Yes, the show is relatively short. It's like less than an hour. A little less than an hour. But, yes, I'm going to play at least three Eagle songs, and I'm going to do one that I wrote with my brother Tom Len, and then we chose it, Don Henley and Gwen Fry, and they completely rewrote the lyrics except for their opening line. So it still. It still starts the same as art my brother and my song did, but it's called Hollywood Waltz. And. And what happened after the Eagles recorded is Buck Owens recorded it. So it's like, how do you get a cut with Buck Owens? You have the Eagles record it first train leaves here this morning. Yes. Will that. That be something that will. People will get to hear? Yeah, but I've just. I've dropped the key one whole step, two half steps from E to D because it's. It's more comfortable down there. I did. I did it every night in the history of Eagles tour and, you know, 10 years ago, but that was in the key of E. And I decided D D is more relaxed. And so it's in D now. And I got a version of Take It Easy that also is in a. In a key that suits my voice. It's like my take on it. So, yeah, those songs for the moment. And then later maybe some stuff from Dillard and Clark or Flying Burrito Brothers later when I can do a longer show. You know, what was it like bringing that song train to the Eagles? Because obviously it had its own life before it was a song from the Eagles and you. Right. So I was in this group called Dillard and Clark with Doug Dillard, great banjo player, and Gene Clark, who had been really the main writer in the early Birds. And Gene was a brilliant songwriter. He could. He could do it. Few people can, which is come to rehearsal one day, hear something that wasn't finished, and come back the next day with a complete song. And he could. Sometimes he'd come back the next day with a couple songs. So anyway, I'm credited with co writing Train. I think all I did was contribute the chords for the B section or the chorus. So when it came to the early Eagles, actually, we weren't writing that much yet. And so the first album, we were all wanting to contribute something, and Don Henley and I wrote Witchy Woman for that album. But I could. I offered Train re show this morning for me to sing, and they went, yeah, it's cool. So that's. That's how it happened. But it. It's probably my favorite song off of that Dylan and Clark album that we had done earlier. Oh, it's such a great song. What do you think of this revolution that's going on right now in terms of these young guns of bluegrass that are on the scene? And who are some of your favorites of that group that has kind of emerged and brought bluegrass into the mainstream? Well, Chris Stapleton, notably, who's transitioned right out to become basically a superstar. I mean, and Chris Stapleton is such a great singer, but he was the lead singer of a bluegrass group here called the Steel Drivers in town. Billy Strings is like, I guess, the latest phenomenon, and he's a uniquely gifted guitar player, and he's expanding fast. Remarkably good guitar player. So a lot of respect for those guys. I'm not sure I know the names of all the people who are exploring that, mining that vein right now, but bluegrass is a really good training ground for singers, songwriters, players. Obviously, you have to learn to play your instrument really well. And a lot of people, if they keep progressing with their instrument, they go kind of beyond bluegrass and start blending it with other stuff. Jazz. Marco Connor and fiddle did that. Bela fleck on banjo 30 years ago or more. You know, there's. There's a really. It's a really rich vein of, of American music to explore, and you can cross pollinate it with whatever you want, you know, so school. Bernie, I'm so grateful that you took the time to be on Taking a Walk, and I'm so grateful for the music that you continue to give us that makes us feel so special and so great. And it's just amazing and an honor to be with you. Those are very kind words, guys. It's been a pleasure to be with you too. Thanks for listening to this episode of the 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. Malcolm Gladwell here this season on Revisionist History. We're going back to the spring of 1988, to a town in northwest Alabama where a man committed a crime that would spiral out of control. And he said, I've been in prison 24, 25 years. That's probably not long enough. I didn't kill him. From Revisionist History, this is the Alabama Murders. Listen to Revisionist History, the Alabama murders on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Hi, I'm Radhi Devlukia and I am the host of a really good cry podcast. This week I am joined by Anna Runkle, also known as the crappy childhood fairy, and a creator, teacher and guide, helping people heal from the lasting emotional wounds of unsafe or chaotic childhoods. Talking about trauma isn't always great for people. It's not always the best thing. About a third of people who are traumatized as kids feel worse when they talk about it, get very dysregulated. Listen to a really good cry on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Hi, I'm Danny Shapiro. We were in the car like a Rolling Stone came on and he said, there's a line in there about your mother. And I said, what? What I would do if I didn't feel like I was being accepted is choose an identity that other people can't have. I knew something had happened to me in the middle of the night, but I couldn't hold on to what had happened. These are just a few of the moving and important stories on my 13th season of family Secrets. Listen to Family secrets on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. This is an iHeart podcast. Guaranteed Human.