Low that it immediately puts your own guard down and allows you to

t i can say what i want, cause i didn't say it. A character saidth i didn't say it. Michael said that. You know, lets like going to watch star wars ne we don't have to fight over whether luke is really darthvater's son, or if there's really a greenguy named we just enjoyed a story. Ye. I wanted to do that. But if you go watch any of those movies, the lessons are real, ye, right? So i wanted to do something like that too, ecause students, after coming to my camps, were asking for a book. And for one, i don't want a whootin method. Ye, i don't want a here's how to do it. I'll point you in some directions, you know. But when we learn to talk, you learn the same word i learn, but you know that you can use them how you want, yes. But we teach music in a way that you got to learn my way first, and then i tell you to go find your own voice. After i taugt your voice out of you, i tell you to go find it again. It's so silly and backward. So i didn't want to do that, ye. So i wrote a story. But the lessons are in there.

The lesson, or the takeaway that i got from the second book was maybe a little bit less about the self and more about the world and how the self can explore the world. Maybe maybe the first book my interpretation, a little more exploration of self d then the second one, this is happening. And this is how we can use now that we've found ourselves, this is how we can use that in the beautiful, beautiful, good.

Great. You knowed it n the first book, i wanted people to not be afraid of music, make friends with music, and whyl i can do this. I can play. Yes, you know, by giving them tools. Normally we give people notes and a little bit of technique and t go play. Yat's like teaching people 12 words and say, go speak a language. O you can't speak with only 12 words. You can't speak music with only 12 notes. This book gives you nine other things besides the notes. And that's what we brook music up into ten, ten parts, to make people say, i can do this. Isn'tit easy? Now, why are you going to do it? That's what the second book is, more, not how to play, but why to play. And you have to involve other people when you ask any question of why?

Can you expand on that a little bit,

any question why you want to do anythingright? And thisas, this came from my mam. She didn't say it exactly like that, but i give you mam' story. Mamma, was the most praising parent i've ever seen. She always made you feel good and know who you were. But one day, i can't recall what i had done, but i was proud of myself. It could have been i had practised for four hours, ause i've always hated to practise. Still do bus like mam. And i don't knowif was it, but this is a good story. I sa, mam, i i practised four hours a day. See, say, well, what's that got to do with me? It ony wall, that's right. That's just a selfish endeavor. What you know? So i took the next long while to look at everything i did in life, everything, to see how it affected any one else. How could it benefit anyone other than me, from tying my shoes, brushing my teeth to practising the bass, right andg i look at it this way, because we are as good as we are on our instrument, not only because we practise, but because of the people before us. Absolutely if you mention jocko, if jocko didn't put in all that hard, sweat and ates, you wouldn't even be as good as you are on ha guitar. Absolutely so. Whether they know or not what they did affected us and every other bass parrot player in the world. Whether you've heard a jockal or not, you are affected by the people before you. So my mam was making me aware of that, that you're not doing things just because of you. Nothing. Nothing from brushing your teeth, anything else, it affects everyone else, when you can see it, or whether you can see it or not. But you're aware of that concept, you can be more conscious of everything you doi, knowing that every vibration you put out there is is bumping off of something else. Like the notes we just play are still vibrating somewhere. I and knowing my vibrations will never get taken backe. Once is out, there's out there. So i want to make sure i'm putting out, at least consciously, with the best effort to put out the best vibrations possible. So that's what i take away from my mam. Sing or what's thay have to do with me? Just ecause you practise wo, so you're going on to get tart. Good. So now, what what's that have to do with me? Ight, yes. Are you good at the guitar to show me how bad i am? Is that your real purpose at that point it's not a good reason to be good at the guitar, yes. But if you're helping, which you are, other people. And for me, for me, corey, what you're doing for me is reawakening the art and the importance and the gift of thm guitar. Thank you. Everybody wants the solo, but man, the fact t a, i was telling you early that my daughter this morning was so excited, you're going to play with corey. Won't sothing, cory, won't plays rhythm guitar. How do you know about

i

don't sing. I don't dance.

I don't like you. No, ha, ha, ha, ha.

But that made me so happy. Es, so happy. So whether you realize it or not, you are helping the next, whatever, ten generations of guitars, yes, with what you're doing. So to me, that's a good reason to practise. I

love that.