PROFiLES: DiNA LAPOLT
|"WHATEVER iT TAKES!"WE'VE ALL HEARD STORiES ABOUT THE STRUGGLE TO BE A SUCCESSFUL ARTiSTBUT AFTER SPEAKiNG WITH CELEBRATED ENTERTAiNMENT LAWYER DiNA LAPOLT,THE ROAD TO PRACTiSING ENTERTAiNMENT LAWiS JUST AS ROCKYiNTERViEWED BY BRiAN LUSH
of us can remember
a moment that changed our lives but entertainment lawyer DINA LAPOLT
remembers her epiphany as if it was yesterday. After years of
struggling in bands and supplementing her income as both a promoter
and guitar teacher, LAPOLT attended a music conference with a panel
session on negotiating record deals. Upon the panel's conclusion,
LAPOLT tossed her band's demo tape aside and her fate as one of the
industry's most valued players was sealed. For over seven years, her
firm LAPOLT LAW, P.C. has maintained the most rockingest clientele
(MOTLEY CRUE, the estate of TUPAC SHAKUR) and has worked tirelessly
at making sense of the most misleading contract verbiage and helping
clients to maintain approval over how their creative properties are
used."The record company and publishing company's job is to make
money off of the copyright and they really don't care that your
client is an animal rights activist and they are putting the song
into a movie scene where a dog is being brutalized, but they
could care less because the use is going to pay them
two-hundred-fifty-thousand dollars." says LAPOLT "Doing
deals where you're giving controls of your intellectual properties
over to publishing companies and record companies are a necessary
evil of our business, but at the same time, it's important to
maintain those approvals so that the artist's integrity isn't
to LAPOLT's one-of-a-kind devotion and innate understanding of the
thought process that is usually indicative of "creative"
personalities, LAPOLT has garnered accolades from the industry . She
has been listed as one of the most influential women in music by OUT
MAGAZINE and THE ADVOCATE. She has also served as co-producer of the
ACADEMY AWARD-nominated documentary TUPAC: RESURRECTION.
spoke with DINA LAPOLT over the phone. Here is how it went.
drew you to music in the beginning?
a musician, so I've always been in a band. I grew up in Upstate
New York and when I was eleven I wanted to be a rock star and that
whole thing. I've been in bands all my life and that was kind of what
I was doing. I went to college and got a scholarship to study music.
I ended up transferring to State University in New York and I
graduated with a Bachelors in Music. Throughout my college years I
gave guitar lessons to kids and I had joined the concert
committee at the Student Activities Center and I learned how to put
on concerts and events and I did that for a couple of years and then
I started to do that in clubs in Upstate New York. From there, I
started becoming a talent buyer and promoting music in various clubs.
One time, I booked this all-girl band in the late eighties and their
manager happened to be the drummer for KISS (ERIC CARR) and he was
actually impressed with the club I had filled with this 'no-name'
band that he was managing and he asked if he could take me out to
lunch. His parents lived in Upstate New York so he said that he was
going to be around for the next couple of days and said 'sure!'. So I
met with him and he asked If would like to work with him on a regular
basis with some of the other groups that I manage and I said 'sure!'.
For a couple of years I was doing that around Manhattan. I eventually
graduated with my degree in music and as you can imagine, I had a
line at the door of people that wanted to hire me because of my major
in guitar (laughs). To make long story short, I couldn't find a job
and ERIC had relocated from New York to L.A. because of GENE SIMMONS
and PAUL STANLEY. All of the band's business was now being done in
L.A. whereas before, it was New York. I moved out to California as
well but I moved up to the San Francisco Bay Area because I had
relatives there and I didn't have anyone in L.A. that I really knew.
When I was working with ERIC, it was on a commission basis. It wasn't
like he was paying my salary or anything like that. In San Francisco,
I lived with my aunt and uncle and I started teaching guitar lessons
to kids just to pay the bills. I also joined some bands and played
around in the San Francisco club scene and then I met some people and
started promoting clubs in San Francisco like I did in New York. It
was pretty much up and down. Some nights I would do very well and
other nights I wouldn't do so well and then I found a fourteen year
old, three-person punk band. These kids were like in the eighth
and ninth grade and I just fell in love with them so I started
managing these kids and then I signed them to a record deal and
managed them and that was a thankless job. All the while, I am
approaching my thirties, I have a college degree in music, I'm still
in the music industry but I'm not eighteen or twenty anymore so one
of the bands that I was in was invited to showcase at this music
conference in San Francisco and that was very exciting and part of
being able to showcase was that one member of the band would get to
go to the conferences throughout the day. I looked in the schedule
and saw these different panels in the music like publishing deals and
record deals and I was very intrigued by that because I was always
very business minded, but I didn't really know anything about the
music business as opposed to the music industry. I took my trusty
demo tape - and I'm dating myself - and I went to this panel called
'NEGOTIATING RECORD DEALS' and on the panel were three lawyers
talking about the ins and outs of a record deal and all that other
stuff. So I get to the panel and I thought I was at the wrong
one because there were three guys and one of them was very heavily
tattooed and the other one had two earrings and long hair and I was
like 'I can't be
in the lawyers panel!'
so I asked someone next to me and they said that it was and I had an
epiphany right there and then. I said 'I'm
gonna be a music lawyer!'
and that was what happened. I waited in line afterwards to talk to
this lawyer who was on the panel and when I got up there, he was like
'I'm not taking
demo tapes! I'm not taking unsolicited material!'
and I looked at the demo tape that I was holding and I just threw it
over my shoulder and I said 'I'm
done with that! What I really want to do is be you.'
And his smug ass said to me 'Well
you need a college degree first before you can even go to law
school.' and I
said 'Got that!
Been there, done that! How do I get into law school?'
and he's like 'You've
got to take a law school admission test and try to get in.'
Well within six months of that conversation with that pompous guy, I
ended up taking the law school admission test and getting accepted
into law school at JOHN F. KENNEDY University School of Law in the
San Francisco Bay Area and I did that for four years and put myself
through law school by promoting clubs and teaching guitar lessons to
children. My band did a residency at a club in Walnut Creek for three
years and within two weeks of passing the bar exam, one of my
ex-girlfriends sisters called me up and asked if I was an
entertainment lawyer yet, and I told her, 'Believe
it or not, yes!'
and she said 'Wow!
I'm on the cover of PLAYBOY, can you come to L.A.?'
and within twenty-four hours, I was living with her in Sherman Oaks.
So that is how it began.
was the biggest surprise for you once you had become an entertainment
lawyer and moved to Los Angeles?
biggest surprise for me honestly was that I couldn't find a
All these years of working in the music industry and being in a band
and helping to manage acts and promoting clubs and doing concerts and
all of this great stuff and I didn't know shit about the music
business or anything having to do with the deal making, the
agreements and the stuff where the real money is generated. So just
because I had a law degree and I had passed the bar and had been a
musician for twenty years of my life - I didn't know anything. I
didn't know my ass from my elbow so I pretty much used all of the
relationships that I had to get interviews with different
entertainment lawyers. I relied on connections like ERIC and GENE
from KISS and my client Miss June from PLAYBOY to get me connections
and going up the PLAYBOY MANSION and meeting HEFF and having him open
doors. I was able to meet a lot of people in the music business and
get interviews but the same thing I heard over and over gain was 'You
don't know what you're doing!'.
It was very shocking to me because I thought that it was going to be
a done deal but it was absolutely not a done deal because the same
thing that I kept hearing over and over again twelve years go is the
same thing that I tell new lawyers today. 'I
can't hire you until I know I can give you fifteen producer
agreements and you can go and negotiate them, draft them, bring them
back fully executed and have them completely favorable to my client
without asking a single question or bugging the shit out of me. Until
you can do that, there is no room for you at the firm.'
how do you go about doing that if you're not working for
work for free. You intern in an entertainment law firm and you work
for free. You start filing papers, answering phones, getting the
bosses lunch, faxing papers - whatever it takes.
is that what you did?
and then I also took classes. The great thing about L.A. is that it's
an entertainment town, and both USC and UCLA offer Continuing
Education Programs at night where they give classes and lectures in
the music and film business . So I charged a class on my credit card
called 'EVERYTHING YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS' and the
professor at the time was DON PASSMAN. I bought his book when I was
sixteen years old called 'EVERYTHING YOU NEED TO KNOW ABOUT THE MUSIC
BUSINESS' and it was mu Bible. I had charged the five hundred
dollars to charge the class on my credit card. So I took his class
and I interned for a music lawyer in Century City, who at the time
represented JEFF FOXWORTHY and JENNIFER LOPEZ. In the beginning, I
didn't know what I was doing so I would do whatever it took to learn.
He would say fax this paper to so and so and I didn't just go fax the
paper. I would read what I was faxing and then write down questions
that I would have and I would go back to resources that I had such as
the DON PASSMAN book or these entertainment industry contract guides
that are put out by MATTHEW BENDER that the law library had and I
would go back to those and look up my questions and then I would get
answers. For the stuff where I couldn't get any answers, I would ask
my boss but I would save up my questions for when my boss was in a
good mood and his phone wasn't ringing off the wall. When he was a
bit willing to chat, I would pick his brain with questions and then I
started meeting other lawyers because I started going to things in
L.A. like the CALIFORNIA COPYRIGHT CONFERENCE which is something that
has been in L.A. for thirty years and its the second Tuesday of every
month in the evening. It's in Sherman Oaks and you pay fifty dollars
to join as a member for a year and they have dinners and there are
these panels of people and some of the panels are on negotiating
producer agreements and new publishing deals. Experts would come and
talk about these things that they were doing, so I would go to that
religiously. I also joined the ASSOCIATION OF INDEPENDENT MUSIC
PUBLISHERS which met on the third Thursday of every month
during the day and I would go to those luncheons and meet people
there. Once I started meeting other lawyers, I would have questions
about deals that I was doing and I would take them to lunch. I would
spend a lot of money taking people to lunch and I would ask them
questions about violating confidences and pick their brain and they
would give me some of their agreements and they would redact the
agreement so I'd take out the information so I could read what
they were doing and that was what I did. All the while I had to wait
tables because I couldn't support myself. When you want something,
you just go get it. Whatever it takes.
about the class you're teaching at UCLA.
started the class last night and it's amazing. When I was a young
lawyer without a job and waiting tables, and took that class by
DONALD PASSMAN at USC, that was probably the single most important
thing I had ever done in my entire career. I learned so much in that
class so I started teaching that class at UCLA Extension eight years
ago. This is the twelfth class that I'm teaching. It's fantastic
because the course covers all of the contractual and the business
issues that arise in this industry from record deals, production
deals, producer agreements and issues that arise in the recording
studio, trademark issues and rights of publicity. We also go over
agreements relating to management, entertainment lawyers, agents,
business managers, and licensing. It's amazing! It's a twelve week
class and I started it last night and I have over forty people and I
love it. It forces me to keep current.
compelled you to start your own firm as opposed to partnering with a
more established one?
ended up learning a lot from the nine months that I interned for that
one lawyer. After nine months I started to become valuable to him. I
was able to do producer agreements without asking him questions. I
was able to create value for him where he was able to bill me out, so
I ended up working at his firm for like three years. I became a bona
fide lawyer at the firm and then he and I had a falling out. We're
great friends now but the falling out had to do with business issues.
He is a fantastic lawyer, but he's lawyer. I see myself as a business
person and a deal maker and he really didn't have good instincts when
it came to money or with what clients wanted to do. He was really in
the tree, where I was in the forest. So we kind of had a
difference of opinion on a couple of things that had happened with a
certain client and that client started to rely on my instincts more
and more and more and it became a very uncomfortable situation for
him. At that point, he had been practicing for twenty five years and
I had only been practicing for three years but his particular client
just ended up relying on me more than him and instead of nurturing
that relationship and encouraging me to grow, he put the reigns on my
a little more because he was insecure and that really hurt the
situation. When I see a client really take to lawyer in my firm, I
encourage them because I've learned from the mistakes of my old boss.
I encourage them to take the client to lunch and send them birthday
presents and Christmas presents. I encourage them to really get them
to know the client on a personal level to solidify the bond even
more. Do I run the risk of the lawyers here leaving and taking
clients and opening their own firm? Of course, but the only thing to
fear is fear itself and I can't live like that. If a lawyer is going
to leave me and go open up their own practice and take some of the
clients that I originally brought into the firm, than that is the way
it should be. I encourage my lawyers to build their practice within
my practice. My own boss at the time didn't see it that way. He got
very threatened and instead of encouraging that relationship between
me and client 'A', what he did was put restrictions on me. He started
saying that I couldn't call the client on my own and that he had to
be in the room. The client wasn't allowed to fax me letters or
anything. He even called the clients and told them that they couldn't
talk to me, they had to talk to him and this particular client; she
was not about that. She was very successful in her own right and she
right away smelled his insecurity and did the exact opposite of what
he was telling her to do and she started relying on me more and more
and more. So one day he sat me down and told me that this isn't
working and I said 'I know, I think I need more money and lets try to
renegotiate my deal', but he wanted to demote me. When we got this
client at the firm, she had five other lawyers. Three years later,
two of those lawyers had gone away and we were doing a bulk of the
entertainment work. She still had the litigation counsel and the
trademark counsel but because we did such a good job, we were able to
consolidate her stuff and she was able to get rid of two other law
firms so we created value for her and saved her an enormous amount of
resources. Instead of looking at that as a positive thing, he tried
to put limitations on me and demote me and that was when it got
really uncomfortable and he told me that 'If
you didn't like it, then you should go somewhere else.'
and I said 'Okay!'.
I created a network for myself and I joined all of those committees
and I started putting it out there that I was looking for a job. I
didn't tell the clients at all because that's unethical. I just told
my colleagues. In a week, I had four law firms that wanted to
interview me. I interviewed with two of the four and actually got an
offer from one firm. When I told my boss at the time, he had a cow
and from then on it became unbearable and after a week I left. After
I left, three of the clients came with me, including that lady. And
that is the long and the short of it BRIAN.
many lawyers are in your firm at the moment?
including me and one assistant who is out taking the bar exam.
your clientele, what is the most common issue that presents
their rights and maintaining their approvals with third party
companies. That is a big issue. Clients need to be able to maintain
their approval over the use of their music in TV commercials and
films. The record company and publishing company's job is to make
money off of the copyright and they really don't care that your
client is an animal rights activist and they are putting the song
into a movie scene where a dog is being brutalized, but they
could care less because the use is going to pay them
two-hundred-fifty-thousand dollars. Doing deals where you're giving
controls of your intellectual properties over to publishing companies
and record companies are a necessary evil of our business, but at the
same time, it's important to maintain those approvals so that the
artist's integrity isn't compromised.
should the plan of action be for any new artist that is about to sign
that dotted line?
need to find a lawyer. If they get offered any type of agreement, the
first thing they've got to do is get a lawyer. They shouldn't sign
the agreement or have their cousin Vinny to help them with it. They
need a music lawyer because that is someone who does music law all
day long and they view hundreds and hundreds of these agreements
every single week and that is the only professional that is going to
let them know what the agreement means and what the industry
customs say and what they are giving up and what they are
because a large part of ROCKWIRED's readership is made of music
professionals and members of bands, how much is a consultation fee
for something like this.
don't do that. We get new clients from word of mouth or they have to
have some kind of buzz. Even if the client live in Bloomfuck, Idaho,
me and other industry professionals will know who that client is. If
all of a sudden they have a humongous presence on the internet
through various social networking sites whether it's MYSPACE,
FACEBOOK, their webpages, webcasting royalties, i-TUNES downloads and
if they are getting written up in on-line fanzines about their shows.
If they're selling out thousand-seat shows, we're going to know about
it. It's not really about whether it's a hit record anymore. It's
about them creating themselves. There are new artists that will
create a hit song and will actually get it played on the radio from
just networking. A good song is a good song is a good song but when
it gets out there and people start playing it , then things start to
happen. So any band or artist that just thinks that a music lawyer
and a manager is the 'end-all, be-all' to creating their careers,
they are sadly mistaken. You have to create yourself to get the
attention of us and then we can take it to a new level. A new
band that basically has their song on the i-TUNES charts gets charted
in BILLBOARD MAGAZINE and then we'll notice that their song is
getting played on mainstream radio or ACTIVE ROCK. All of a sudden,
we see the group is charting and we're like, 'who
is this group?'
and we GOOGLE them and we go to their MYSPACE page and we can see
that they have five hundred thousand people on their page and
can see that they are doing 25 shows in two months in eighteen
states. Now, I'm interested! If a band can do that on no budget,
imagine what they can do with major resources behind them. So that is
kind of how that goes.
read where you said that the artist needs to think of themselves as a
brand. How easy is that for artists that you've come across to
accept. Especially rock artists who are like 'It's
all about the music man!'
it is what it is, but it's a business. At the end of the day, if you
can't pay your rent and your mortgage with your music, then do it as
a hobby. It's like opening up a 7-11 on the corner, it's business.
You've got to put up money to make money. If you don't want to put up
money to make money and you don't want to think of yourself as a
brand, and not learn the principles of the music business and apply
them to your craft and actually start making a living, then don't be
in it! Trust me, there are a hundred people at my door that are lined
up that are willing to do that. The music is just a part of it. There
is touring. There is merchandising. There are sponsorships and
endorsements. It's all a part of the music business. The music is the
calling card. The music has to be good but that is inherent. If the
music is not good then forget everything else. Music is only the
eighth of it. We have a whole other spectrum of things that need to
be established and need to be developed before that particular artist
can start to make money with their music and that needs to be tapped.
You have some artists that are anomalies like BEYONCE. She's amazing!
This woman is a film star, a music star, and she's a brand. Good for
her! You have other artists that say, 'I'm
not gonna do that'.
Well, great! Then just do it as a hobby. Don't call me. It's a
business and my job is to make money in the entertainment
industry for my client. If I'm not doing that, then I'm not doing my
that whole 'It's
all about the music, man!'
mentality always seems to come from the rock people. I never hear
that sentiment from hip hop people for R&B people.
rock people that are successful think the exact opposite. Look at
BUCK CHERRY. Amazing! Look at PAPA ROACH. Look at HINDER. Look at
THEORY OF A DEAD MAN. Look at ROB ZOMBIE. Look at INSANE CLOWN POSSE.
That is a total brand. That is a brand beyond a brand. These people
are smart. Look at KISS. GENE SIMMONS has an amazing biography. He
says that he was raised in Upstate New York and he said that the only
way he was going to make it in music is if he had a fucking gimmick.
And from there, he decided the band was going to wear make up,
outrageous outfits and high heels. There songs are great! Songs like
'I'm gonna rock n
roll all night!/ and party every day!'
- that song is a staple in American rock history. They had huge
songs, but it's not just about the songs. So all of these bands need
to really take a lesson from GENE SIMMONS and NIKKI SIXX because they
think like business people. Not only are they immensely creative,
they think like business people and thats what separates them from
the rest. METALLICA is a brand. OZZY OSBOURNE is a complete brand.
Look at the things that he's done because of his amazing wife SHARON
who is the consummate music business person. They started OZZFEST and
earned a gazillion dollars a year, and the TV show that they did.
They are a whole brand. Amazing! U2 - a total brand. Their brand very
much identifies with the new millenial generation. They are very
attached to social issues. That's BONO and he's created a brand out
of his connection to social issues worldwide. He has millions and
millions of fans because they identify with his compassionate side
and his charitable personality. Thats a brand.
worked this business on the creative side and the business side. Do
those old creative instincts ever manifest themselves in the work
that you are doing now?
My job is very creative because there is no deal that is the same
deal. Every record deal is different and every producer deal is
different. They start with the same basic principal; an industry
custom – but that is always different depending on the genre of the
music and personalities involved. The one thing that I'm very careful
about and something that I think a lot of my colleagues need to take
a lesson from is that I try not to overstep my boundaries. That is a
really big issue in our industry. For instance, in film, the agents
are the brokers. They are the JERRY MCGUIREs with the headsets. They
are the deal makers of the film and TV industry. On the other hand,
in music, the deal makers are the music lawyers. It's very much a
reverse role and the agents in the music business plan tours and
everything else in the live music sector. They are not involved with
the record companies and the publishing companies unless they are
partners with those people. You get really close to your
clients and they talk to you and they trust you and then they start
asking your opinion on creative things. You have to be careful. I'm
very aware that I'm a lawyer. Even though I have a background and a
degree in music, I was never successful in music for whatever reason.
I have to be careful. So when a client tells me that the record
company thinks that this should be the single and asks me what I
think, I've always got to tell them, 'I'm
your attorney. I'm your forty two year-old attorney. You don't want
my opinion as to what the single should be.'
That's not my job. I don't want to give my opinion because it's
irresponsible. You don't want a lawyer telling you what to do
creatively. Thats a manager's job.
rock n roll lifestyle tends to take it's toll on a lot of people.
What kind of a toll has it taken on you when you were an artist?
my God! I lived in a van for about eight years. So it takes a big
toll on you. Especially if you're a woman. I know all of my women
colleagues are gonna shoot me for saying this but it's the truth.
Women can't do that as well as men can. Taking a shower and checking
yourself into a MOTEL 6 every five days - I don't care how determined
you are as a woman - it takes it's toll. I can still make macaroni
and cheese powered by cigarette lighter on a hot plate with powdered
milk. A woman's metabolism is not like a mans. It effects us. A lot
of my male rock bands that are on the road right now are amazing! I
see them pull into TACO BELL, and they are eating burritos and they
are eating a bunch fast food and I think to myself 'Oh
my God! I couldn't do that when I was twenty-five years old. I
would've gained fifteen pounds!'.
For me, as a woman, it took its toll very quickly. I started to
really really hate it. Another thing with this new set of bands is
that they all have children. That's an issue. If you have children
and you are on the road for six months touring, it's hard! It's a
hard life! You miss out on things and there is no two ways about it.
There is not one humongous rock star that has not had problems with
their relationship because they are never home. Home many rock stars
take their wives and girlfriends on the road with them? If the wife
or girlfriend has absolutely nothing going on, she might be going
with you but that changes when you have kids.
your band been formed in this day and age as opposed to over ten
years ago. Do you think it would've been easier or harder?
a good question! It would've been easier for me and I'll tell you
why. Ten years ago, when I had a band, it wasn't a professional
thing. By then, it had become a hobby because I was practicing law
and I had already given up that I was going to be a musician for
money. Twenty years ago was when I was really trying make my career
in music. If I wasn't doing this now and wasn't forty-two, I think it
would've been easier for me because I'm a business minded person and
I am a marketing person. Twenty years ago, we didn't have the
internet, we didn't have TWEETER, we didn't have MYSPACE, we didn't
have FACEBOOK. We didn't have any of that so it was really difficult
unless you met people and gave them a copy of your cassette tape or
whatever. There were no CDs back then. Now, there are 45 million
youths in America between the ages of fifteen and twenty four. On
average, 80% of the top ten traffic sites are made up of
international visitors. Can you believe that? Kids from countries
other than the U.S. make up eighty percent of the people that visit
these top sites. Twenty years ago when I was trying to be an artist,
I didn't have those resources available to me. If I was twenty two
years old right now and trying to make it in music, my God! - I
would be making a killing. I would be working the shit out of it and
having so much damn fun.
would you say is your defining moment as an entertainment
had a lot of professional accolades that I'm very proud of like when
I co-produced 'RESURRECTION' and it was nominated for an ACADEMY
AWARD - that took my breath away! I was also listed as one of the
most influential women in music by OUT MAGAZINE and THE ADVOCATE.
That was amazing, but my most defining moment, I have to say is being
asked to start teaching a music business class at UCLA. To me sitting
in that classroom at USC thirteen years ago with DON PASSMAN - the
biggest music lawyer on the planet, the guy who wrote the book
'EVERYTHING YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS' - and
learning from him was huge. I had gotten so much out of that
class. When I was referred by my colleagues to UCLA that I would be
the one to take over this type of a class there and for UCLA to say
'Hey, we want you
to do this!' -
that was a very big moment for me and it still is. After eight years,
it still takes my breath away that I'm doing it.
do you hope people will take away from it once they've taken this
I want them to know more than before and that no longer they will say
'Where shall I
go? What shall I do?'
They will have answers. They might not have all of the answers but at
least they will have fifty percent more answers than when they
ever miss strapping on a guitar and letting her rip?
know honestly...You want the real answer BRIAN?
I read this interview with the guy formerly known as CAT STEVENS, my
answer to you is 'no'. I always used to feel very guilty about saying
that because I have a guitar in my office and I've got fifteen
guitars in my house. CAT STEVENS hadn't played in twenty years and
five years ago, he sat down and he picked up this acoustic guitar and
he started playing and it was like he never put it down. Since then,
he came out with an album and when I read that I was like 'Oh
my God!' I'm
never gonna be afraid to say that I don't feel guilty because here
was this guy who was a humongous artist who wrote some of the most
amazing songs, who put aside his music career, changed his identity,
moved out of the country and then twenty years later, picked up the
guitar like it was nothing. So you never know. There is a time and a
place for everything.