A Quote by John Tesh
I used almost every penny I ever made to build recording studios in every city I lived in. I don't have much to show for all the TV money except a lot of musical gear and a lot of songs.
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I would only listen to certain things, like a lot of teenagers do. But the Tragically Hip is a ribbon that's been with me pretty much my entire musical life. Every mix tape I ever made had at least one Hip song on it. Right from the outset I feel like Gord Downie built so much room into his songs. There was so much space in them that he created. He made me think of songwriting as full of boundless possibilities in a way that - well, that a lot of songwriters do, but that was the first time I thought a song could really contain multitudes.
Every TV show I've ever made, every game I've ever built, and every book I've ever published has had the common thread of building the biggest, brightest spotlight imaginable and then flipping it around to shine on you.
Recording studios are interesting; a lot of people say - and I agree - that you should have a lot of wood in a recording studio. It gets a kind of a sweeter sound.
I made a penny for each paper delivered every day, plus 2 cents for Sunday papers. I had 120 customers. For a 10-year-old kid in the 1940s, that was a lot of money.
I mean, the way I see it is, every penny I've ever made through music is free money.
Follow the money, Washington reporters like to say. The money is this case comes from taxpayers, present and future, who are the source of every penny of dues paid to public employee unions, who in turn spend much of that money on politics, almost all of it for Democrats. In effect, public employee unions are a mechanism by which every taxpayer is forced to fund the Democratic Party.
Well 'The Pod F. Tompkast,' as much as I love the result of it, was a really labor intensive show. There's a lot of writing, there's a lot of scheduling, there's a lot of recording - it's not a show that we can necessarily do in one day because there are so many moving parts to it.
The late '60s and the '70s, a lot of this really beautiful equipment was being made and installed into studios around the world and the Neve boards were considered like the Cadillacs of recording consoles. They're these really big, behemoth-looking recording desks; they kind of look like they're from the Enterprise in Star Trek or something like that. They're like a grayish color, sort of like an old Army tank with lots of knobs, and to any studio geek or gear enthusiast it's like the coolest toy in the world.
I've lived in so many different towns - Guttenberg, Union City, West New York, Jersey City. We didn't have a lot of money, and we'd get kicked out of places a lot.
A lot of the TV shows, they do long hours, and they do a lot of days, and you don't get a lot of time. But the good thing is, if you get one that's made in L.A., or made in a place you want to be, you get to go home every night.
A lot of bands, they take a lot of planning to do a live record. They have to hire a crew, and they have to have a recording truck and all this equipment, and they record every single show.
I made a few movies in Holland for a lot of TV series. I came to Los Angeles and for the last 10 years, I made a lot of feature films - all kinds of low budget action movies for the studios.
It's drama, it's a lot of things, but you know it's always about every movie or every TV project ever made is meant to be watched. If people like it and support it, that's what it is all about, really it's sort of the important part about it.
When I was up in college, I had a friend, and he was the only guy who knew I wasn't going to be able to attend school no more because I had a child on the way. I remember we was right at the lunch table. I was like, 'Man, I should start boxing.' I felt like every fighter that's on TV made a lot of money. I was like, 'You gotta make a lot of money.'
You've been entrusted with a lot of money and a lot of careers, and a lot of people put their faith in me, and every director goes through that every time.
A lot of the gear came out of some of the old studios here in New York City. We picked up a lot of old microphones, reverb tanks, tape machines, so yeah, we try to record the old way, which takes more time and energy, but it certainly feels better when you're getting to the end of the process of making a record.
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