Can we nap to heavy metal? Did Evanescence save a plane full of people? Did we really miss the mark with Weezer? In this super-sized episode, we hear one last batch of listener questions for Season 1! Come back next week for the last regular episode of our first season!
Music heard in this episode: Luciano Berio - “Sinfonia: III - In ruhig fliessender Bewegung”, Evanescence - “Bring Me to Life”, Sugar Ray - “RPM”, LL Burns - “Don’t Call Me at Home”, Bonobo - “Recurring”
Send us your thoughts at NeverMusicPod@gmail.com
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00:00 --> 00:00 [SPEAKER_05]: Okay.
00:01 --> 00:01 [SPEAKER_05]: So bad.
00:01 --> 00:03 [SPEAKER_00]: I think that's the same album that that's on.
00:03 --> 00:05 [SPEAKER_05]: That doesn't even make sense to me.
00:06 --> 00:06 [SPEAKER_00]: It's wild, right?
00:07 --> 00:07 [SPEAKER_05]: I hate it.
00:08 --> 00:11 [SPEAKER_05]: I don't know what the fart noise is for about and feel like it was just a bunch of fart noises.
00:12 --> 00:12 [SPEAKER_00]: I don't know.
00:12 --> 00:14 [SPEAKER_00]: I don't know what excerpt I'm going to leave for the audience.
00:14 --> 00:15 [SPEAKER_00]: I'm not, yeah.
00:15 --> 00:15 [SPEAKER_00]: She heard it.
00:16 --> 00:18 [SPEAKER_00]: I want to put Nicole took the headphones off.
00:19 --> 00:22 [SPEAKER_06]: It was just like too much is not for me.
00:33 --> 00:33 [SPEAKER_05]: Hey, I'm Nicole.
00:34 --> 00:34 [SPEAKER_00]: And I'm Mark.
00:34 --> 00:36 [SPEAKER_05]: And this is never mind the music.
00:37 --> 00:39 [SPEAKER_00]: Mailbag feedback number three for season one.
00:40 --> 00:41 [SPEAKER_00]: Love a mailbag episode.
00:41 --> 00:41 [SPEAKER_00]: Yeah.
00:42 --> 00:44 [SPEAKER_00]: So folks, season two is about to start.
00:45 --> 00:46 [SPEAKER_00]: We've already started prepping for it.
00:47 --> 00:49 [SPEAKER_00]: I've looked at the list of upcoming episodes.
00:49 --> 00:53 [SPEAKER_00]: We really only have a few more episodes before season two starts.
00:53 --> 00:55 [SPEAKER_00]: And one thing I found was hilarious.
00:56 --> 00:57 [SPEAKER_00]: We are doing this mailbag episode.
00:58 --> 01:01 [SPEAKER_00]: And we are recording it pretty much right before it's going to be released.
01:01 --> 01:01 [SPEAKER_00]: Right.
01:02 --> 01:07 [SPEAKER_00]: But the last episode of season one proper is our recap episode.
01:07 --> 01:15 [SPEAKER_00]: And I just think I'm super looking forward to listening back because that was recorded a while ago.
01:15 --> 01:17 [SPEAKER_05]: I have no memory of recording that.
01:17 --> 01:19 [SPEAKER_00]: Think of this as like.
01:20 --> 01:20 [SPEAKER_00]: That's funny.
01:21 --> 01:31 [SPEAKER_00]: Think of this as part one of our season one wrap up podcast series, but that one was recorded when all the recording was fresh.
01:32 --> 01:35 [SPEAKER_00]: This one is recorded when all of you have been listening to it.
01:35 --> 01:35 [SPEAKER_00]: So it's kind of funny.
01:36 --> 01:41 [SPEAKER_05]: And me included, like I didn't listen to any of these episodes prior to them being released.
01:41 --> 01:44 [SPEAKER_05]: So I'm caught up with our listeners.
01:44 --> 01:45 [SPEAKER_05]: Like I'm in step with the listeners.
01:45 --> 01:46 [SPEAKER_00]: You're in step with the listeners.
01:46 --> 01:57 [SPEAKER_00]: I just I'm really looking forward to and I hope you all will laugh with us and not at us because I remember talking about like what songs should we do next season and like
01:58 --> 02:01 [SPEAKER_00]: None of that reflects any audience feedback we actually got.
02:01 --> 02:06 [SPEAKER_00]: None of it reflects anything, but us being burned out having recorded fifty episodes or whatever.
02:06 --> 02:07 [SPEAKER_00]: And what are you thinking?
02:07 --> 02:09 [SPEAKER_00]: I'm like half awake after recording.
02:09 --> 02:09 [SPEAKER_00]: Yes.
02:10 --> 02:15 [SPEAKER_05]: You know what I noticed listening back that so many times, you were, I will say, oh, we'll get to that later.
02:16 --> 02:18 [SPEAKER_05]: Or we'll deal with that song next season.
02:18 --> 02:20 [SPEAKER_05]: And I started making a list.
02:21 --> 02:21 [SPEAKER_05]: And we did.
02:22 --> 02:23 [SPEAKER_05]: We're honoring our path.
02:23 --> 02:24 [SPEAKER_00]: And you sent me the list.
02:24 --> 02:26 [SPEAKER_00]: I sent you the list and we kind of used it.
02:26 --> 02:32 [SPEAKER_00]: I think we're doing our best to incorporate much, and it has nothing to do with whatever we're about to say.
02:32 --> 02:36 [SPEAKER_00]: And I think the wrap-up pod we made is actually gonna be really fun.
02:37 --> 02:40 [SPEAKER_00]: It's just funny that it's way less contemporary.
02:40 --> 02:41 [SPEAKER_00]: We'll say that.
02:41 --> 02:43 [SPEAKER_00]: We recorded it probably almost a year ago.
02:44 --> 02:51 [SPEAKER_00]: Anyways, you all know by now that season one was recorded mostly in advance, not completely but mostly, but season two is not gonna be that way.
02:52 --> 03:13 [SPEAKER_00]: So, the people have written in, folks, in the future, if you missed sending in feedback this time, normally we put out a little message saying, hey, everybody feedback, the truth is we got so much via email and discord that, I didn't think we necessarily wanted to ask for more, because this might already be a bit long.
03:14 --> 03:18 [SPEAKER_00]: If you want to get in touch for the next feedback episode, which
03:19 --> 03:19 [SPEAKER_00]: We'll be doing mail bags.
03:20 --> 03:22 [SPEAKER_00]: I'm still planning on kind of three of them per year.
03:22 --> 03:25 [SPEAKER_00]: So every three months or so, how can they do that in a call?
03:25 --> 03:35 [SPEAKER_05]: They can email us at nevermusicpod at gmail.com or hop on to the Laura Hound's Discord server and just offer us some feedback in real time there.
03:35 --> 03:37 [SPEAKER_05]: It's been kind of fun to engage.
03:37 --> 03:43 [SPEAKER_05]: I will have to say on Discord the only time I log in to reply is after our drink and at least a half bottle of wine.
03:44 --> 03:47 [SPEAKER_05]: So I get kind of loose-lipped or I'll just start like harding everything.
03:48 --> 03:54 [SPEAKER_00]: The podcasts, you're getting coffee up, the cool, the discord you're getting wind up, Nicole.
03:54 --> 03:54 [SPEAKER_06]: Sound up.
03:55 --> 03:56 [SPEAKER_06]: Something.
03:56 --> 03:57 [SPEAKER_00]: Discorrected by the way.
03:58 --> 04:00 [SPEAKER_00]: We have a never mind the music channel on discord.
04:00 --> 04:04 [SPEAKER_00]: If you haven't used discord before, it's very, very simple.
04:04 --> 04:08 [SPEAKER_00]: But the lorehounds.com is where you would find the link to join that server.
04:08 --> 04:11 [SPEAKER_00]: And there's obviously also a conversation about all the lorehounds stuff.
04:11 --> 04:14 [SPEAKER_00]: So TV shows and movies and books and stuff like that.
04:15 --> 04:16 [SPEAKER_05]: It's a really great community there.
04:16 --> 04:17 [SPEAKER_05]: We're happy to be a part of it.
04:17 --> 04:18 [SPEAKER_00]: Having a good time.
04:19 --> 04:20 [SPEAKER_00]: Almost one year deep.
04:20 --> 04:20 [SPEAKER_00]: It's pretty awesome.
04:21 --> 04:22 [SPEAKER_05]: It feels like mere moments.
04:23 --> 04:23 [SPEAKER_00]: Yeah.
04:23 --> 04:24 [SPEAKER_05]: I guess so.
04:24 --> 04:25 [SPEAKER_00]: I guess so.
04:25 --> 04:26 [SPEAKER_00]: Even though you can't remember some of the episodes.
04:26 --> 04:30 [SPEAKER_05]: But like a like a like a few towards the end of season one.
04:31 --> 04:37 [SPEAKER_05]: It's like in your basement for hours and hours or in your, um, save the hour recording studio for hours.
04:37 --> 04:39 [SPEAKER_00]: One last disclaimer about the feedback.
04:39 --> 04:40 [SPEAKER_00]: We did get a lot.
04:41 --> 04:48 [SPEAKER_00]: And so if you sent in a question or a really cool comment, that doesn't make the episode.
04:48 --> 04:48 [SPEAKER_00]: Thank you.
04:49 --> 04:51 [SPEAKER_00]: Basically, I got everybody.
04:51 --> 04:58 [SPEAKER_00]: I think I got everybody, but some of you, especially in discord, have started multiple lines of conversation, which some of these comments come from email.
04:58 --> 05:05 [SPEAKER_00]: Some of them do come from discord when it's more of a question, but a lot of times these started full conversations in the thread.
05:05 --> 05:06 [SPEAKER_00]: So we're not
05:06 --> 05:10 [SPEAKER_00]: capturing everybody because some of our more engaged listeners are in there a lot.
05:10 --> 05:14 [SPEAKER_00]: I made sure to get everybody, I kind of found as a greatest hits that I could.
05:14 --> 05:25 [SPEAKER_00]: But if I missed you, I'm sorry, try to get everybody in and not trying to replicate the entire discord conversation, just grabbing the things that felt like it would be fun to talk about on Mike.
05:25 --> 05:27 [SPEAKER_05]: Yeah, thanks everyone for your feedback.
05:27 --> 05:30 [SPEAKER_05]: We tried to incorporate as much as we could into this meal by the episode.
05:30 --> 05:32 [SPEAKER_05]: If we missed you this time, we'll try to get you next time.
05:33 --> 05:33 [SPEAKER_00]: Totally.
05:34 --> 05:34 [SPEAKER_00]: Toads.
05:35 --> 05:36 [SPEAKER_00]: You want to start us off?
05:36 --> 05:36 [SPEAKER_05]: Sure.
05:37 --> 05:42 [SPEAKER_05]: So this is from Ayisha, not of another bad creation fame, but just Ayisha.
05:43 --> 05:43 [SPEAKER_05]: No last name.
05:44 --> 05:53 [SPEAKER_05]: So humming, she says, the humming inciner seems to resonate some deep spiritual, spiritual adjacent place in my soul.
05:53 --> 05:57 [SPEAKER_05]: Is there a reason it does that, like a physiological or scientific reason?
05:58 --> 06:01 [SPEAKER_05]: Why does my whole self end up sort of high from the sound of humming?
06:02 --> 06:04 [SPEAKER_05]: And that's from the movie centers.
06:04 --> 06:05 [SPEAKER_05]: I don't see it yet.
06:05 --> 06:06 [SPEAKER_00]: I haven't seen it yet.
06:07 --> 06:08 [SPEAKER_00]: There's more on this.
06:08 --> 06:11 [SPEAKER_00]: There's another person to read on on this comment.
06:11 --> 06:15 [SPEAKER_00]: But parenthetically, it has been so hard to catch up on.
06:16 --> 06:17 [SPEAKER_00]: This is supposed to be summer.
06:17 --> 06:17 [SPEAKER_00]: Right.
06:17 --> 06:21 [SPEAKER_00]: This is supposed to be the time that us professors can catch up.
06:22 --> 06:23 [SPEAKER_00]: I was so far behind.
06:24 --> 06:25 [SPEAKER_00]: I couldn't participate in the and or stuff.
06:25 --> 06:27 [SPEAKER_00]: The Laura Hounds and the coverage.
06:27 --> 06:28 [SPEAKER_00]: And I really wanted to.
06:28 --> 06:29 [SPEAKER_00]: So still haven't seen centers.
06:29 --> 06:33 [SPEAKER_05]: I didn't catch up on anything I needed to this summer, and that was busy all summer.
06:33 --> 06:35 [SPEAKER_00]: That's just life, generally.
06:35 --> 06:35 [SPEAKER_05]: I was doing.
06:36 --> 06:48 [SPEAKER_05]: But there was another comment from Jessica saying, ooh, I actually know this, humming stimulates the vagus nerve, which activates your parasympathetic nervous system, aka the one that comes down and reverses our fighter flight instinct.
06:48 --> 06:52 [SPEAKER_05]: It can even help treat depression and PTSD, so your reaction totally makes sense.
06:53 --> 06:57 [SPEAKER_05]: Reminds me of the same sound made in yoga, the same sort of vibration.
06:59 --> 07:02 [SPEAKER_05]: I also know that to be true, humming does stimulate your vagus nerve.
07:02 --> 07:04 [SPEAKER_05]: The vagus nerve is the largest nerve in your body.
07:04 --> 07:11 [SPEAKER_05]: It runs from the middle of your brain down the back of your neck all the way to connect to your stomach.
07:11 --> 07:16 [SPEAKER_05]: So when we talk about the mind body connection, there actually is a nerve connection called the vagus nerve.
07:17 --> 07:19 [SPEAKER_05]: It can really stimulate the vagus nerve.
07:19 --> 07:23 [SPEAKER_05]: You can do it externally like with just your hands by rubbing the back of your neck.
07:25 --> 07:31 [SPEAKER_05]: in the little nook between your tendons in the back, your neck, you can like press your thumbs up into it and stimulate your vagus nerve.
07:32 --> 07:37 [SPEAKER_05]: It's helpful if you're having like a panic attack, you can do that to kind of slow your nervous system down.
07:38 --> 07:39 [SPEAKER_05]: Jessica's spot on.
07:40 --> 07:41 [SPEAKER_05]: And how many does do that?
07:41 --> 07:46 [SPEAKER_05]: Like the vibration does just help regulate your nervous system probably from vagal nerve stimulation.
07:48 --> 07:49 [SPEAKER_05]: Cool, cool knowledge, Jessica.
07:49 --> 08:00 [SPEAKER_00]: Yeah, and I would just say, from a musical perspective, you know how it feels great to sing in the shower or in a stairwell, like anywhere where there's a lot of reverberation happening.
08:00 --> 08:07 [SPEAKER_00]: When you close your mouth and hum, you get a lot of resonance through your basically your nasal passages.
08:08 --> 08:11 [SPEAKER_00]: Hmm, your beak will resonate, right?
08:12 --> 08:23 [SPEAKER_00]: And there's a lot of, first of all, satisfying sort of stimming happening when you're doing that, but also you, you kind of feel your voice in a way that you don't in the same way that
08:24 --> 08:31 [SPEAKER_00]: you hear yourself on recording and I as a podcast editor have to deal with this all the time, but you go, oh, that doesn't sound like what I sound like.
08:31 --> 08:34 [SPEAKER_00]: You get your head resonating your voice.
08:34 --> 08:41 [SPEAKER_00]: And when you hear yourself speaking, you're hearing us so much more resonant kind of rich, full sound than everybody else in the world.
08:42 --> 08:43 [SPEAKER_00]: And humming just maximizes that.
08:43 --> 08:47 [SPEAKER_00]: So I think there's something also aside from the vagus nerve just
08:48 --> 08:58 [SPEAKER_00]: kind of, I don't know, like there's an oomph to the sound of yourself singing when you're humming with your mouth closed and you get from the resonance in your sort of nasal passages.
08:58 --> 09:04 [SPEAKER_05]: Yeah, like helps you ground yourself and bring yourself like back into your body more that vibration.
09:04 --> 09:11 [SPEAKER_05]: And that could also be on like the vagal nerve stimulation, just the grounding back into your body could help alleviate anxiety.
09:11 --> 09:13 [SPEAKER_05]: So like if you're feeling this fight or flight,
09:14 --> 09:19 [SPEAKER_05]: or like this dissociation attached to anxiety, just coming back into your body, really helps with that.
09:20 --> 09:32 [SPEAKER_05]: Other strategies for that is sometimes if I'm feeling really anxious, I'm like, I'm not gonna say I'll go for a run because I'm famously not a runner, but I'll do like burpees or jumping jacks or something just to get myself back into my body.
09:33 --> 09:37 [SPEAKER_05]: And humming, I think gives the same type of stimulation.
09:37 --> 09:38 [SPEAKER_05]: Awesome.
09:38 --> 09:39 [SPEAKER_05]: Cool, that's awesome feedback.
09:39 --> 09:40 [SPEAKER_05]: Great conversations online.
09:41 --> 09:42 [SPEAKER_00]: I'll take the next one.
09:42 --> 09:48 [SPEAKER_00]: This is from Anita B. In one of the recent episodes you offered resources for folks having suicidal ideations.
09:49 --> 10:06 [SPEAKER_00]: A highly encouraged future episodes on the topic to also reference nine eight eight crisis lifeline, which is a three-digit replacement for the National Suicide Hotline and provides twenty four seven three sixty five call text chat support to people who are experiencing a crisis or mental health emergency.
10:07 --> 10:16 [SPEAKER_00]: This goes back, I think, to when we were maybe talking about intrusive thoughts in our episode on Kylie Minogue, you had called out a resource.
10:16 --> 10:17 [SPEAKER_00]: I don't remember.
10:17 --> 10:20 [SPEAKER_05]: I think the good Samaritans are the Trevor Project who we talked about.
10:20 --> 10:21 [SPEAKER_05]: There's a nonprofit resources.
10:22 --> 10:23 [SPEAKER_05]: This is a government sponsored resource.
10:24 --> 10:26 [SPEAKER_05]: I love the national resources.
10:26 --> 10:27 [SPEAKER_05]: I think they're really helpful.
10:27 --> 10:30 [SPEAKER_05]: There might be people that are hesitant to use national resources.
10:30 --> 10:33 [SPEAKER_05]: So it's nice to offer some nonprofit resources as well.
10:33 --> 10:37 [SPEAKER_00]: Yeah, just positionality and society in relationship with the government.
10:37 --> 10:38 [SPEAKER_05]: I think that's super helpful.
10:38 --> 10:45 [SPEAKER_05]: And I think it's really great that we have first responders on hand to help with people that are in crisis moments for mental health.
10:46 --> 10:54 [SPEAKER_05]: I also think it's great that we're starting to really train first responders like then one dispatch is police and fire towards mental health concerns.
10:55 --> 10:55 [SPEAKER_05]: Thanks Anita.
10:56 --> 10:58 [SPEAKER_05]: She and he's been given great feedback.
10:58 --> 11:01 [SPEAKER_00]: Yeah, and he does the reason we did the bonus episodes on music.
11:01 --> 11:03 [SPEAKER_05]: Yeah, yeah, I love it.
11:03 --> 11:04 [SPEAKER_00]: Give us more orders Anita.
11:04 --> 11:07 [SPEAKER_06]: Well, yeah, like, and he knows it was waste worth in us.
11:07 --> 11:08 [SPEAKER_00]: Do you want to take the next one?
11:08 --> 11:08 [SPEAKER_05]: Sure.
11:09 --> 11:17 [SPEAKER_05]: Our next question from Sub-Zero, had a truly unique experience that the symphony this past weekend, Beethoven, X-Biancei, so it's a guy who mash up.
11:18 --> 11:23 [SPEAKER_05]: The composer Steve Hackman melded more than a dozen Beyonce songs with Beethoven's seventh.
11:23 --> 11:26 [SPEAKER_05]: It was a full orchestra with three amazing singers up front.
11:27 --> 11:30 [SPEAKER_05]: I went in somewhat skeptical, but it far seemed my expectations.
11:30 --> 11:34 [SPEAKER_05]: The crowd was on speed dancing and singing along, which is so unusual at the symphony.
11:35 --> 11:40 [SPEAKER_05]: And yet felt so right, definitely worth checking it out if it comes around your city.
11:40 --> 11:53 [SPEAKER_05]: I think Sub-Zero, there was a great conversation on Discord relevant to this comment about like candlelight or Castro concerts like a Taylor Swift by candlelight or Beyonce by candlelight.
11:54 --> 11:57 [SPEAKER_05]: I think it's really cool to have those like juxtaposed experiences.
11:58 --> 12:07 [SPEAKER_05]: Like when I went and mentioned seeing my morning jacket with the Boston Symphony Orchestra as the backing band and it was just like it was wild to be in that environment listening to that specific music.
12:08 --> 12:10 [SPEAKER_05]: It just seemed like it shouldn't work, but it really did.
12:10 --> 12:12 [SPEAKER_05]: So thanks for your feedback.
12:12 --> 12:13 [SPEAKER_05]: Have you ever seen anything like that, Mike?
12:14 --> 12:18 [SPEAKER_00]: So, I mean, I think there's a few things that this touches on.
12:19 --> 12:24 [SPEAKER_00]: I think I'm less into the band with backing orchestra thing.
12:25 --> 12:31 [SPEAKER_00]: I just think back to that metallic album, SNM, where they're playing with the San Francisco Symphony, and you just can't hear anything.
12:33 --> 12:37 [SPEAKER_00]: There's like somebody working their ass off playing Obo or like bassoon.
12:38 --> 12:39 [SPEAKER_00]: I'm thinking like an inner voice.
12:39 --> 12:48 [SPEAKER_00]: So like, yeah, the first trombone or the third clarinet that's like right in the middle of the texture while there's the guys in Metallica on full blast and it's just
12:49 --> 13:15 [SPEAKER_00]: it subverts the whole point of an orchestra a little bit because and it also maybe subverts the unity and the intensity of a rock band oftentimes it doesn't work for me and this though it and that doesn't mean it can't work there are songs that are arranged for that as opposed to we took green day and we're putting a whole symphony orchestra on top of them like that might not work if the song is basket case which was clearly not in not desired for that but that's different than
13:16 --> 13:19 [SPEAKER_00]: doing a orchestra version of that music.
13:19 --> 13:20 [SPEAKER_00]: I think that could be cool.
13:21 --> 13:24 [SPEAKER_00]: Max Richter, who did you come up on this podcast?
13:24 --> 13:24 [SPEAKER_00]: Yeah.
13:24 --> 13:25 [SPEAKER_00]: Is that a lower-hand podcast?
13:25 --> 13:27 [SPEAKER_05]: No, he did because I went to see him.
13:27 --> 13:28 [SPEAKER_00]: Oh, you went to see him.
13:28 --> 13:28 [SPEAKER_00]: Okay.
13:28 --> 13:28 [SPEAKER_00]: Yeah.
13:29 --> 13:32 [SPEAKER_00]: He has a whole thing where he does radiohead.
13:32 --> 13:40 [SPEAKER_00]: I think he might do an orchestral and sort of classical adjacent vocal treatment of all of okay computer.
13:40 --> 13:44 [SPEAKER_00]: And it's beautiful because it's just reinterpreted and it's, it's a different thing.
13:44 --> 13:48 [SPEAKER_00]: It's not putting them behind as the backup band for radio head.
13:48 --> 13:51 [SPEAKER_00]: It's this whole orchestra experience.
13:51 --> 13:53 [SPEAKER_00]: Now this seems something different.
13:53 --> 13:56 [SPEAKER_00]: I checked out a clip or two on it.
13:56 --> 13:56 [SPEAKER_00]: You can't.
13:57 --> 14:00 [SPEAKER_00]: As far as I can tell, you can't go listen to the whole thing online over whatever they want you to sell the tickets.
14:01 --> 14:04 [SPEAKER_00]: This does feel a bit more like a mash-up, which seems pretty cool.
14:05 --> 14:12 [SPEAKER_00]: And I don't know how much it's how far the mash-up goes, but it kind of reminds me of some, well, it's really postmodern as the general would use.
14:12 --> 14:25 [SPEAKER_00]: Like, there's a composer, nineteen sixties, era piece, a guy named Luciano Barrio, who has this piece called Symphonia, that's like almost the definition of postmodernism, or it's mollers,
14:26 --> 14:47 [SPEAKER_00]: I think Mueller's third symphony mixed up with like people talking on top of it and weird sort of non-secretor stuff happening and newly composed things and Mueller's stuff is just kind of weaving in and out and it's just sort of disrupting the expectations of what it would mean to go to a symphonic work.
14:49 --> 14:50 [SPEAKER_03]: What's going on?
14:50 --> 14:50 [SPEAKER_03]: What's going on?
15:05 --> 15:08 [SPEAKER_00]: And I like anything that disrupts that.
15:08 --> 15:26 [SPEAKER_00]: Like I can remember in grad school, you know, performance artists I knew or new musical ensembles that would encourage people to move around during the performance and not treat it like a staggy old classical thing, which is an artificial convention anyways, because it wasn't, you weren't supposed to be silent back when Mozart concerts were going on anyways, right?
15:27 --> 15:32 [SPEAKER_00]: So I like the idea of this kind of thing that just kind of, you know, you put people into symphony hall and they're dancing.
15:32 --> 15:35 [SPEAKER_00]: I like that kind of tradition or juxtaposition.
15:36 --> 15:36 [SPEAKER_05]: Same.
15:36 --> 15:38 [SPEAKER_05]: I'd love to see something like that.
15:38 --> 15:39 [SPEAKER_00]: Whether it's good or not, I don't know.
15:39 --> 15:40 [SPEAKER_00]: Because sometimes it's not.
15:40 --> 15:41 [SPEAKER_05]: Sometimes it's not.
15:41 --> 15:42 [SPEAKER_00]: Sometimes I can.
15:42 --> 15:43 [SPEAKER_05]: That would go into that Max Richter show.
15:43 --> 15:45 [SPEAKER_05]: I went in completely blind.
15:45 --> 15:50 [SPEAKER_05]: I just went with a friend because they had an extra ticket and I was like, I'll always go see live anything.
15:51 --> 15:52 [SPEAKER_05]: And I was really blown away.
15:52 --> 15:55 [SPEAKER_05]: I was like, I think I'd love going to see classical music.
15:55 --> 15:59 [SPEAKER_05]: One, because there's not a ton of expectation to stand up and move around.
15:59 --> 16:00 [SPEAKER_05]: You can kind of sit.
16:00 --> 16:02 [SPEAKER_05]: And I'm getting to the age that I want to sit at concerts.
16:02 --> 16:04 [SPEAKER_05]: I'm done, I'm done standing and dancing.
16:04 --> 16:05 [SPEAKER_05]: And I just really enjoyed it.
16:05 --> 16:08 [SPEAKER_05]: It was really like meditative and a lovely way.
16:08 --> 16:13 [SPEAKER_05]: And I would love to layer that experience on to pop music, because I'm just more familiar with pop music.
16:13 --> 16:15 [SPEAKER_05]: I think I could relate to it more, so.
16:16 --> 16:18 [SPEAKER_00]: I want to just boost what you just said.
16:18 --> 16:20 [SPEAKER_00]: You want to go to more classical music.
16:20 --> 16:22 [SPEAKER_00]: And I'm going to highlight you went to see Max Richter.
16:22 --> 16:24 [SPEAKER_00]: And that's not classical music.
16:24 --> 16:24 [SPEAKER_00]: Right.
16:24 --> 16:25 [SPEAKER_00]: New music.
16:25 --> 16:34 [SPEAKER_00]: Now it's like our cast contemporary class with like classical with a lower KC and classical with an uppercase C classical with an uppercase C means music from the classical period.
16:35 --> 16:38 [SPEAKER_00]: Mozart, Hyden, most of Beethoven's output.
16:38 --> 16:43 [SPEAKER_00]: I think a lot of us think of classical with an uppercase C, but you can go to see a symphony.
16:43 --> 16:43 [SPEAKER_00]: Yeah.
16:44 --> 16:48 [SPEAKER_00]: And be blown away by how modern it is because the music was written three months ago.
16:49 --> 16:49 [SPEAKER_00]: Right.
16:49 --> 16:52 [SPEAKER_00]: And classical, that's classical music with a lower case.
16:52 --> 16:54 [SPEAKER_00]: See, which is like art music, right?
16:54 --> 16:56 [SPEAKER_00]: Or contemporary classical or art music.
16:56 --> 16:58 [SPEAKER_00]: And as a composer.
16:58 --> 16:59 [SPEAKER_00]: Yeah.
16:59 --> 17:08 [SPEAKER_00]: I love a lot of the old stuff as I'm sure you all could guess, but there's nothing like going and seeing an original piece, a new piece that maybe nobody's ever heard before.
17:09 --> 17:28 [SPEAKER_05]: And it's cool, like, oh, because in your head, you think of this stereotype as classical music, as a dodgy, but then you see a max work, for me, and I know I'm new to this world, kind of reinvented what that type of music could sound like and feel like, and it felt more like art, unless like a performance.
17:29 --> 17:30 [SPEAKER_05]: And I really liked that.
17:30 --> 17:31 [SPEAKER_05]: I was really into it.
17:32 --> 17:33 [SPEAKER_00]: That's cool that you had that experience.
17:33 --> 17:34 [SPEAKER_05]: Yeah, it was awesome.
17:34 --> 17:35 [SPEAKER_05]: All right, next.
17:36 --> 17:36 [SPEAKER_05]: What do we got?
17:36 --> 17:38 [SPEAKER_00]: All right, I got one from Rocky Zim.
17:39 --> 17:43 [SPEAKER_00]: On a trip and listening to my music can felt like sharing that I could have naps to heavy metal.
17:43 --> 17:49 [SPEAKER_00]: I'd put some from autumn to ashes or as I lay dying and close my eyes and nap on long road trips.
17:49 --> 17:52 [SPEAKER_00]: I just listen to my music and close my eyes and be relaxed.
17:52 --> 17:55 [SPEAKER_00]: Some people are surprised, but it helps me calm down.
17:55 --> 17:56 [SPEAKER_00]: Super curious what you think on this.
17:57 --> 17:58 [SPEAKER_00]: I just want to query to Rocky.
17:59 --> 18:00 [SPEAKER_00]: I hope you're not driving.
18:00 --> 18:02 [SPEAKER_05]: I probably not.
18:02 --> 18:03 [SPEAKER_00]: Probably not.
18:03 --> 18:05 [SPEAKER_05]: We're all key seems like kind of a wild card.
18:05 --> 18:06 [SPEAKER_05]: What do you got thoughts on this?
18:07 --> 18:08 [SPEAKER_05]: I am the same.
18:08 --> 18:13 [SPEAKER_05]: Definitely not to heavy like what does it call it, heavy, heavy, heavy, heavy.
18:14 --> 18:25 [SPEAKER_05]: That's not my genre, but I have an easier time falling asleep to music than I do, silence for sure, because it helps override the thoughts in my head.
18:26 --> 18:38 [SPEAKER_05]: just focus on the music and then I don't like stem out about the events of the day and I'm betting that rock is having a similar experience that it helps quiet the noise that exists inside their head and kind of overrides it with this other music.
18:39 --> 18:42 [SPEAKER_00]: And I wonder if heavy metal is almost incidental.
18:42 --> 18:46 [SPEAKER_00]: I mean, I remember from other comments of Rockies that Rocky likes heavy music.
18:46 --> 18:55 [SPEAKER_00]: Like, yeah, it might be kind of surprising that it's the loud stuff, but I think just like whatever your comfort music is would do it.
18:55 --> 18:58 [SPEAKER_00]: What for you, it might be an acoustic singer songwriter for Rockies in.
18:59 --> 19:05 [SPEAKER_05]: Another note here is people that have hearing loss or have tonight is like ringing in their ears.
19:05 --> 19:05 [SPEAKER_03]: Yeah.
19:06 --> 19:11 [SPEAKER_05]: Can't fall asleep to silence because the ring in their ears becomes too overwhelming for them.
19:12 --> 19:21 [SPEAKER_05]: So I'm not saying this is rocky situation, but a lot of people I know that have like a tonight as a ring in their ears need other auditory stimulation.
19:23 --> 19:29 [SPEAKER_05]: in order to fall asleep because it helps quiet because the silence is literally deafening for them because of the ringing in their ears.
19:30 --> 19:33 [SPEAKER_00]: What's your guess as to what I fall asleep listening to?
19:38 --> 19:56 [SPEAKER_00]: not like scam music probably audio books just in like an audio book guy I can't fall asleep listening to music yeah I can't because you just get too hyper focused on listening to it yeah it's too and I've been like that ever since I was a teenager right I I could have the radio on like talk radio you know like thinking
19:56 --> 20:01 [SPEAKER_00]: tenth grade, I put like, love line on it and it's taking an hour to fall asleep.
20:01 --> 20:02 [SPEAKER_00]: But eventually fall asleep.
20:02 --> 20:09 [SPEAKER_00]: Music, I'm analyzing it even back then, before I knew what analysis was, I'd be listening to it too actively.
20:09 --> 20:10 [SPEAKER_00]: It's like too stimulating to me.
20:10 --> 20:11 [SPEAKER_05]: I get it.
20:11 --> 20:13 [SPEAKER_05]: I listen to NPR a lot going falling asleep.
20:13 --> 20:14 [SPEAKER_05]: Like Tom Ashbrook.
20:15 --> 20:16 [SPEAKER_00]: Yeah.
20:16 --> 20:26 [SPEAKER_00]: And I can have music on while I'm working or doing something, but it's got to be usually got to be instrumental or something that I don't know that well.
20:26 --> 20:30 [SPEAKER_00]: So it's not, I'm not a measure ahead predicting what's going to happen.
20:30 --> 20:31 [SPEAKER_00]: I'm just sort of taking it in.
20:31 --> 20:33 [SPEAKER_05]: Like a low five beat or something.
20:33 --> 20:39 [SPEAKER_00]: I mean, I could listen to instrumental music or something that if I know it too well, I'm playing along in my head.
20:40 --> 20:40 [SPEAKER_05]: How funny.
20:40 --> 20:47 [SPEAKER_05]: So yeah, I definitely working like low five repetitive like trancey type of music.
20:47 --> 20:48 [SPEAKER_05]: It helps me get to my flow state.
20:49 --> 20:49 [SPEAKER_00]: All right.
20:49 --> 20:50 [SPEAKER_00]: Thanks so much.
20:50 --> 20:50 [SPEAKER_00]: Rocky.
20:50 --> 20:51 [SPEAKER_05]: Thanks, Rocky.
20:51 --> 20:51 [SPEAKER_00]: All right.
20:51 --> 20:52 [SPEAKER_00]: You want to get the next one?
20:52 --> 20:52 [SPEAKER_05]: Sure.
20:53 --> 20:57 [SPEAKER_05]: Our next feedback is from Naomi V. First lyrics.
20:58 --> 20:59 [SPEAKER_05]: I'm with Nicole.
20:59 --> 20:59 [SPEAKER_05]: Yes.
21:00 --> 21:10 [SPEAKER_05]: I heart lyrics, and I'm wondering if there's a through line between the lyrics of Elton John and Bernie Toppin, they co-wrote the Elton John albums I consider the best, and Taylor Swift.
21:10 --> 21:14 [SPEAKER_05]: Could this be an excuse to finally do some tea swift while get ready for season two Naomi?
21:15 --> 21:19 [SPEAKER_05]: I think the self-referential singer-songwriter similarities are very apparent.
21:20 --> 21:20 [SPEAKER_05]: That's interesting.
21:21 --> 21:27 [SPEAKER_05]: Also, in terms of lyrics, I'm wondering if there's any link between societal values in the lyrics every generation grew up listening to.
21:28 --> 21:37 [SPEAKER_05]: I'm a child of the seventies, so when songs like Kenny Loggins' Danny song were popular, the idea being we don't value money and stuff the way subsequent generations tend to.
21:38 --> 21:44 [SPEAKER_05]: We all drove beaters if we drove it all and chopped it through stores, sewed our clothes, and no one felt a little bit bad about it.
21:44 --> 21:45 [SPEAKER_05]: Just curious.
21:46 --> 21:49 [SPEAKER_00]: So there's actually more from Naomi, but let's pause there, maybe.
21:49 --> 21:50 [SPEAKER_00]: Okay.
21:50 --> 21:56 [SPEAKER_00]: So first, through line between Taylor and Elton John slash Bernie Topping.
21:58 --> 22:03 [SPEAKER_00]: Bernie Topping being the lyricist is for most of certainly the most iconic Elton John stuff.
22:04 --> 22:04 [SPEAKER_05]: Oh, interesting.
22:05 --> 22:13 [SPEAKER_05]: Is there a through line which, well, Taylor's stuff is so autobiographical, but still like narrative in a way that Elton John songs are pretty narrative.
22:14 --> 22:14 [SPEAKER_05]: What do you think?
22:15 --> 22:17 [SPEAKER_00]: Naomi calls out self referential aspects.
22:18 --> 22:24 [SPEAKER_00]: It's tough when you've got a songwriting duo, though, because I'm like, who's, who's story is that, right?
22:24 --> 22:29 [SPEAKER_00]: And I don't know that much about Elton John's kind of history.
22:29 --> 22:33 [SPEAKER_00]: I know his music pretty well, but not like the story.
22:33 --> 22:37 [SPEAKER_00]: It's not like a Swiftie would know all the relationships of Taylor, right?
22:38 --> 22:42 [SPEAKER_00]: So it's hard for me to really comment, but their detailed stories.
22:42 --> 22:42 [SPEAKER_02]: Yeah.
22:42 --> 22:44 [SPEAKER_00]: I think it's a really cool story.
22:44 --> 22:45 [SPEAKER_00]: You know, it's as opposed to these,
22:46 --> 22:54 [SPEAKER_00]: Some writers have a universal kind of message, and some seem very specific and targeted to a particular experience.
22:55 --> 23:01 [SPEAKER_00]: And I think when you're looking at, and obviously not autobiographical song, Rocket Man, by Elin John, right?
23:02 --> 23:05 [SPEAKER_00]: Which I think is also top in writing the lyrics.
23:06 --> 23:14 [SPEAKER_00]: That's very specific, personal narrative, even though it's obviously not a real story, but it has a kind of targeted aspect as opposed to
23:15 --> 23:18 [SPEAKER_00]: You compare that to something like Carol King, you've got a friend or whatever.
23:19 --> 23:26 [SPEAKER_00]: And yeah, that might be about a specific person, but the messaging of it is very universal in a way that kind of asks us all to relate to it.
23:26 --> 23:35 [SPEAKER_00]: Not that rocket man in Taylor Swift, we don't relate to it, but you're imagining the artist voice as the character.
23:35 --> 23:36 [SPEAKER_00]: Not yourself.
23:36 --> 23:36 [SPEAKER_05]: I don't know.
23:36 --> 23:38 [SPEAKER_05]: That makes sense.
23:38 --> 23:40 [SPEAKER_05]: When I think of Taylor Swift's music,
23:41 --> 23:45 [SPEAKER_05]: And when she's telling a story, she's the main character in the story I'm seeing in my head.
23:45 --> 23:58 [SPEAKER_05]: But like a song like Carol King, you go to friend or any other songs that aren't so esoteric, I see myself as it feels more relatable unless I'm watching a show and more like I'm part of the show.
23:59 --> 24:00 [SPEAKER_05]: That makes sense.
24:00 --> 24:01 [SPEAKER_00]: Yeah, I think so.
24:01 --> 24:03 [SPEAKER_00]: That's what what I would see now.
24:03 --> 24:03 [SPEAKER_00]: Okay.
24:03 --> 24:07 [SPEAKER_00]: How about this whole societal values thing?
24:07 --> 24:11 [SPEAKER_00]: I think all art is a reflection of the society.
24:11 --> 24:21 [SPEAKER_00]: I would not to rain on your parade a little bit Naomi, but the seventies often, especially when we think about it from a music history perspective.
24:21 --> 24:24 [SPEAKER_00]: We think of all the singer songwriters that emerged.
24:24 --> 24:29 [SPEAKER_00]: People often describe the youth of the seventies as the me generation.
24:29 --> 24:31 [SPEAKER_00]: So you're talking about we drove beaters.
24:31 --> 24:35 [SPEAKER_00]: We didn't value money and things like as much as success of generations.
24:35 --> 24:39 [SPEAKER_00]: Sure, I guess the eighties is the Gordon Gecko go get your generation.
24:39 --> 24:41 [SPEAKER_00]: But the fact is that the youth culture
24:42 --> 24:59 [SPEAKER_00]: especially as compared to the late sixties of the seventies was like people focusing on their self's and self-betterment and almost selfishness like that's when you read a pot music history textbook that's how they're describing the sort of cultural norms and I know that sounds crazy but I'm I'm almost saying like
25:00 --> 25:06 [SPEAKER_00]: I'm not sure everybody agrees with you that your generation would have necessarily been viewed that way.
25:06 --> 25:21 [SPEAKER_00]: I think every generation has its own version of materialism, or when we talk about the eighties in the nineties, then it's the sort of like nihilistic reality bites, performative poverty kind of thing.
25:21 --> 25:22 [SPEAKER_00]: But that's still.
25:22 --> 25:27 [SPEAKER_05]: And I think like, and it's tricky to, I definitely appreciate.
25:28 --> 25:30 [SPEAKER_05]: what Naomi saying here and I can relate to it.
25:30 --> 25:35 [SPEAKER_05]: But in the same breath I'll say like I'm not currently wearing apple bottom jeans and boots with the fur.
25:35 --> 25:36 [SPEAKER_05]: Yeah.
25:36 --> 25:38 [SPEAKER_05]: That would be representative of my generation.
25:38 --> 25:39 [SPEAKER_05]: Right.
25:39 --> 25:40 [SPEAKER_05]: My cohort based on the music.
25:41 --> 25:42 [SPEAKER_00]: You're talking about flow rider.
25:42 --> 25:42 [SPEAKER_05]: Yes.
25:42 --> 25:43 [SPEAKER_00]: Flow rider.
25:43 --> 25:44 [SPEAKER_00]: That's after.
25:44 --> 25:46 [SPEAKER_00]: So that's us in our twenties.
25:46 --> 25:47 [SPEAKER_00]: Yeah.
25:47 --> 25:49 [SPEAKER_05]: But the Danny song might be her.
25:49 --> 25:49 [SPEAKER_05]: I don't know.
25:49 --> 25:49 [SPEAKER_00]: Yeah.
25:49 --> 25:50 [SPEAKER_00]: Yeah.
25:50 --> 25:50 [SPEAKER_00]: No.
25:50 --> 25:51 [SPEAKER_00]: We don't know exactly when in the seventies.
25:52 --> 25:52 [SPEAKER_00]: Yeah.
25:52 --> 25:53 [SPEAKER_00]: I don't think.
25:54 --> 26:02 [SPEAKER_00]: I don't think anybody would expect flow rider lyrics to be what you are patterning your thought you're live on in your stylistic.
26:03 --> 26:03 [SPEAKER_00]: I don't know.
26:03 --> 26:04 [SPEAKER_00]: This is like a whole thing.
26:04 --> 26:07 [SPEAKER_00]: So I'm going to keep going.
26:07 --> 26:07 [SPEAKER_00]: I'm actually
26:10 --> 26:15 [SPEAKER_00]: going to keep going with Naomi's email because the operative word there is email.
26:16 --> 26:19 [SPEAKER_00]: I paired back discord messages more than email.
26:19 --> 26:27 [SPEAKER_00]: If you sent an email, if you've got a complex thought and you sent it as an email, we're more likely to talk through as much of it as we can on the pod.
26:27 --> 26:31 [SPEAKER_05]: You want to reward the work of sending the email.
26:31 --> 26:35 [SPEAKER_00]: The reward of using the twentieth century technology of email sending us a letter.
26:35 --> 26:36 [SPEAKER_05]: A letter.
26:36 --> 26:38 [SPEAKER_00]: So form.
26:39 --> 26:40 [SPEAKER_00]: Naomi goes on about form.
26:40 --> 26:41 [SPEAKER_05]: Okay, cool.
26:41 --> 26:42 [SPEAKER_00]: Song structure, right?
26:42 --> 26:44 [SPEAKER_00]: Ellen John does some crazy things with form.
26:45 --> 26:49 [SPEAKER_00]: If you're unfamiliar, I suggest giving honky chatto and don't shoot me.
26:50 --> 26:51 [SPEAKER_00]: I'm the only piano player.
26:51 --> 26:53 [SPEAKER_00]: Oh, heck, treat yourself to yellow brick road as well.
26:53 --> 26:55 [SPEAKER_00]: He does some out of the box stuff.
26:55 --> 26:56 [SPEAKER_00]: I'll just say to this, like,
26:57 --> 27:00 [SPEAKER_00]: We don't need to go any further than one of his biggest hits.
27:00 --> 27:06 [SPEAKER_00]: If you go to tiny dancer, tiny dancer doesn't hit the chorus until like I think two and a half minutes or three minutes into the song.
27:06 --> 27:12 [SPEAKER_00]: That's how like sprawling and long the structure of the song is, but it feels so satisfying when you get there.
27:13 --> 27:14 [SPEAKER_05]: You really does like an almost famous.
27:14 --> 27:18 [SPEAKER_05]: I think that's one of the most iconic moments in music in film.
27:19 --> 27:21 [SPEAKER_05]: It's been there in the last thing that's on in almost famous.
27:22 --> 27:24 [SPEAKER_00]: It's a good one.
27:24 --> 27:28 [SPEAKER_00]: And wrapping up Naomi's message last promise.
27:29 --> 27:32 [SPEAKER_00]: She allegedly promises we'll see if it's true albums.
27:32 --> 27:35 [SPEAKER_00]: Gosh, I feel sad that albums are no longer a thing.
27:35 --> 27:38 [SPEAKER_00]: Listening to these albums, my brain just prepares for the next song.
27:39 --> 27:44 [SPEAKER_00]: And if it doesn't play, God, there is something literary about an album.
27:44 --> 27:48 [SPEAKER_00]: Listening to today's stuff is like reading random chapters from twenty different books.
27:49 --> 27:50 [SPEAKER_00]: Why are albums so satisfying?
27:51 --> 27:53 [SPEAKER_00]: Is the lack of albums about to ruin humanity?
27:53 --> 27:56 [SPEAKER_00]: This we talked about this a bit in our last mail bag.
27:56 --> 28:00 [SPEAKER_00]: And so there's a lot of resonance with our listeners for sure on this topic.
28:00 --> 28:03 [SPEAKER_05]: Is the lack of albums about to ruin humanity?
28:04 --> 28:05 [SPEAKER_00]: I think get in line albums.
28:05 --> 28:06 [SPEAKER_00]: There's a lot of things to say.
28:06 --> 28:07 [SPEAKER_00]: Right.
28:07 --> 28:14 [SPEAKER_05]: I mean, I think that we can invert that comments and say more albums might save humanity.
28:14 --> 28:27 [SPEAKER_05]: I think that we're getting too hyper focused on like short term gains and not like long term like a long term commitment with payoff like this TikTok generation and these fact that the most
28:27 --> 28:32 [SPEAKER_05]: hit songs are under two minutes long around two minutes long so they can be clipped to beat to be in internet clips.
28:33 --> 28:42 [SPEAKER_05]: I think that we'd all be better served like taking a beat, music pun intended to slow down, just our thought process.
28:42 --> 28:46 [SPEAKER_05]: And I think that short albums and short songs are not helping us with that.
28:46 --> 28:53 [SPEAKER_05]: So I say bring back the album, bring back listening parties, bring back taking time to stop and reflect.
28:53 --> 28:57 [SPEAKER_05]: And if we can do that to music, that'd be awesome, but just generally.
28:57 --> 29:00 [SPEAKER_05]: So I'm going to say albums can save humanity.
29:01 --> 29:01 [SPEAKER_05]: I'm doing it.
29:02 --> 29:03 [SPEAKER_00]: Bending all your internet points.
29:03 --> 29:05 [SPEAKER_05]: I'm betting all the internet points.
29:06 --> 29:11 [SPEAKER_00]: I'm going to speak from the perspective of someone who's dealing with choices relating to this right now.
29:11 --> 29:12 [SPEAKER_00]: Okay.
29:13 --> 29:15 [SPEAKER_00]: So I am an abandoned.
29:15 --> 29:17 [SPEAKER_00]: We are finishing up an album right now.
29:17 --> 29:19 [SPEAKER_00]: So we are very far in the process.
29:19 --> 29:22 [SPEAKER_00]: This album will come out probably midfall or something like that.
29:22 --> 29:23 [SPEAKER_05]: That's exciting.
29:23 --> 29:24 [SPEAKER_00]: I produced it.
29:24 --> 29:25 [SPEAKER_00]: I've done the mixing.
29:25 --> 29:26 [SPEAKER_00]: We're a couple drafts into it.
29:26 --> 29:29 [SPEAKER_00]: I'm getting feedback from the guys, friends of ours, et cetera.
29:29 --> 29:34 [SPEAKER_00]: But we are now having the band meetings about what the next step is, right?
29:34 --> 29:37 [SPEAKER_00]: And one of those questions, we are going to hire a master engineer.
29:38 --> 29:46 [SPEAKER_00]: Mastery is when you basically do the final finishing touches on the mix and make all the songs kind of fit as an album.
29:46 --> 29:48 [SPEAKER_00]: But that's the interesting conundrum.
29:49 --> 29:52 [SPEAKER_00]: And this relates to this question and how much the music industry has changed because
29:53 --> 30:08 [SPEAKER_00]: We have some songs that are a little more, you know, pop, dance pop and then we have some more punky stuff and then we have some more reggae stuff, you know, there's diversity of style and vibe and the old mastering process would be let's unify the record.
30:09 --> 30:13 [SPEAKER_00]: Make sure even the bass and the reggae still feels kind of similar to the bass and the dance pop.
30:14 --> 30:19 [SPEAKER_00]: But the modern single approach would be, no, we just need that dance pop to sound like dance pop.
30:19 --> 30:24 [SPEAKER_00]: And we need the reggae to sound like reggae, so we should be mastering as if this is not an album.
30:24 --> 30:27 [SPEAKER_00]: Now, this is not dream hydra, this is not a concept album.
30:27 --> 30:38 [SPEAKER_00]: So we're gonna do a track sequence that makes sense as a record and the songs were written to be on a record, but there isn't a story, but we have this actual, we literally have a band made in schedules.
30:38 --> 30:39 [SPEAKER_00]: We have to figure out.
30:39 --> 30:43 [SPEAKER_00]: When we send it off from mastery, what's the priority for the engineer?
30:43 --> 30:48 [SPEAKER_00]: Is the engineer supposed to keep it unified or make each song hit as hard as it can?
30:48 --> 30:52 [SPEAKER_05]: Like do you want, is it beneficial to have that throughlined?
30:52 --> 30:56 [SPEAKER_00]: I feel like we have to meet in the middle because the standards now are
30:57 --> 31:01 [SPEAKER_00]: You know, this album, I said, we'll come out midfall, but we're probably going to release a song first.
31:02 --> 31:11 [SPEAKER_00]: And then another one, like little singles or whatever, and they may just, they may be singles or it's just no, we'll just dribble it out because that's what people do and then boom the rest of the album lands.
31:12 --> 31:18 [SPEAKER_00]: And I don't know what's the point of it being cohesive when the song is just released by itself, right?
31:19 --> 31:21 [SPEAKER_00]: So it's a conundrum.
31:21 --> 31:22 [SPEAKER_00]: And you know what's streaming and all that?
31:22 --> 31:23 [SPEAKER_00]: It's not just the album.
31:23 --> 31:26 [SPEAKER_00]: It's the song has to start differently.
31:26 --> 31:28 [SPEAKER_00]: Like you can't have the two minute intro anymore.
31:29 --> 31:30 [SPEAKER_00]: because people will just skip the song.
31:31 --> 31:31 [SPEAKER_00]: Right?
31:32 --> 31:34 [SPEAKER_00]: Because they're not even stuck on the radio station.
31:34 --> 31:38 [SPEAKER_05]: And even like listening on Spotify, like a lot of times, you're not listening to the song.
31:38 --> 31:41 [SPEAKER_05]: The album in the order was produced.
31:41 --> 31:45 [SPEAKER_05]: You're listening to it in the order of like most frequent hits on that one song.
31:45 --> 31:46 [SPEAKER_05]: Like it's something else.
31:46 --> 31:47 [SPEAKER_00]: She's a sensualist or whatever.
31:47 --> 31:47 [SPEAKER_00]: Right.
31:47 --> 31:48 [SPEAKER_00]: Yeah, you are.
31:49 --> 31:49 [SPEAKER_05]: I am.
31:49 --> 31:50 [SPEAKER_00]: I'm still doing the album.
31:50 --> 31:51 [SPEAKER_00]: I know.
31:51 --> 31:55 [SPEAKER_00]: But I am a product of, you know, the twentieth century.
31:56 --> 31:56 [SPEAKER_05]: A doctor of music.
31:57 --> 31:59 [SPEAKER_00]: Yeah, well, that's not the reason.
31:59 --> 32:06 [SPEAKER_00]: You know, classical music, actually, and all the like fancy stuff is endlessly exerted, excerpt, excerpted.
32:06 --> 32:06 [SPEAKER_00]: What's the end?
32:07 --> 32:12 [SPEAKER_00]: And this way extracted, like people don't listen to all of Beethoven's fit symphony.
32:12 --> 32:13 [SPEAKER_00]: They listen to the first movement.
32:13 --> 32:16 [SPEAKER_00]: I mean, people do, when you go to concert, you'll hear the whole thing.
32:17 --> 32:23 [SPEAKER_00]: When you think of the fancy classical music, it's like some area from a three hour opera, but they know the fancy version.
32:23 --> 32:31 [SPEAKER_00]: So this, the album as a concept that is needs to be preserved and immortalized, like goes back to the late sixties.
32:31 --> 32:35 [SPEAKER_00]: This is not something that goes back hundreds of years, even.
32:36 --> 32:39 [SPEAKER_05]: I love, let's think, make some more comparisons to Beethoven and Slacademics.
32:40 --> 32:40 [SPEAKER_00]: That's right.
32:41 --> 32:41 [SPEAKER_05]: I love it.
32:41 --> 32:42 [SPEAKER_05]: What's the name of your album?
32:43 --> 32:43 [SPEAKER_00]: Don't know.
32:43 --> 32:45 [SPEAKER_00]: That's also on the band, even though.
32:45 --> 32:49 [SPEAKER_00]: I open to, so our EP is called skip class.
32:49 --> 32:51 [SPEAKER_00]: And so the slackenize.
32:52 --> 32:56 [SPEAKER_00]: The slackenemics skip class flows as an idea as one sentence.
32:56 --> 32:57 [SPEAKER_00]: Oh, sure.
32:57 --> 33:03 [SPEAKER_00]: And we have to decide if we preserve that like the slackenemics record a podcast.
33:03 --> 33:03 [SPEAKER_00]: I don't know yet.
33:04 --> 33:05 [SPEAKER_00]: We got band meetings.
33:05 --> 33:05 [SPEAKER_00]: We got rehearsals meeting.
33:05 --> 33:07 [SPEAKER_05]: There's so many academic puns.
33:07 --> 33:08 [SPEAKER_05]: Last day to add drop.
33:09 --> 33:09 [SPEAKER_00]: last day.
33:09 --> 33:11 [SPEAKER_00]: The schedule adjustment period.
33:12 --> 33:12 [SPEAKER_00]: Yeah.
33:13 --> 33:13 [SPEAKER_00]: Okay.
33:14 --> 33:15 [SPEAKER_00]: Thank you so much Naomi.
33:16 --> 33:17 [SPEAKER_00]: Uh, you got the next one.
33:17 --> 33:20 [SPEAKER_05]: The slide academics withdraw without an F.
33:20 --> 33:27 [SPEAKER_00]: Yeah, with draw before the deadline and then you get a W on their transcript, which does not affect your disease, but does affect the transfer credit.
33:27 --> 33:34 [SPEAKER_00]: Transfer credit, obviously transfer credit, but also you, if you're on academic probation, it does not count as a successful completion.
33:34 --> 33:36 [SPEAKER_00]: So you can still like lose your financial aid.
33:36 --> 33:38 [SPEAKER_00]: It can, it's set around.
33:38 --> 33:39 [SPEAKER_05]: So it's time status.
33:39 --> 33:40 [SPEAKER_05]: It's like a themix full time status.
33:40 --> 33:42 [SPEAKER_05]: It's like a themix.
33:44 --> 33:46 [SPEAKER_05]: I had another one I lost it.
33:46 --> 33:46 [SPEAKER_00]: Okay.
33:46 --> 33:47 [SPEAKER_05]: What about, okay.
33:47 --> 33:48 [SPEAKER_00]: You're gonna have to hop into our band meeting.
33:49 --> 33:50 [SPEAKER_05]: No thanks.
33:50 --> 33:50 [SPEAKER_05]: Take another one.
34:10 --> 34:13 [SPEAKER_05]: Okay, so our next bit of feedback is from Alicia.
34:13 --> 34:23 [SPEAKER_05]: Mark Nicole, you got a let us know if you've ever watched season two episode three of the rehearsal would love to hear takes on the role quote, bring me the life by Evan Essence plays there.
34:24 --> 34:25 [SPEAKER_00]: Have you watched?
34:26 --> 34:26 [SPEAKER_05]: I haven't.
34:26 --> 34:27 [SPEAKER_05]: They're going to kill me.
34:27 --> 34:31 [SPEAKER_00]: This is Alicia, one of the triumvirate of the laureounds.
34:32 --> 34:33 [SPEAKER_00]: You didn't watch.
34:33 --> 34:34 [SPEAKER_00]: Have you seen any of the.
34:34 --> 34:35 [SPEAKER_05]: I haven't, but I can feel it popping up.
34:35 --> 34:37 [SPEAKER_05]: It's like something I should watch.
34:37 --> 34:48 [SPEAKER_00]: So this message, you know, as much as I'm behind on sinners, this message came long enough ago that my wife and I have watched through the rehearsal and crazy enough.
34:49 --> 34:51 [SPEAKER_00]: We only just barely saw that episode.
34:51 --> 34:56 [SPEAKER_00]: So it's taking us this long like what was this probably a couple months ago to get through all of season one.
34:56 --> 34:58 [SPEAKER_00]: This show is crazy.
34:58 --> 34:58 [SPEAKER_00]: It's so good.
34:58 --> 34:59 [SPEAKER_00]: You have to watch it.
35:00 --> 35:04 [SPEAKER_00]: But everyone says basically folks I can't even describe it, but it's kind of
35:05 --> 35:09 [SPEAKER_00]: a mix between scripted TV and reality TV and awkward comedy.
35:09 --> 35:26 [SPEAKER_00]: It's kind of it's a comedian putting people in possibly real situations that they're rehearsing you it as a psychologist you would ever listen to me and like season two is about like air travel or something right or like being on scared of airplanes or something.
35:26 --> 35:28 [SPEAKER_00]: Why do I'm only three episodes deep?
35:28 --> 35:29 [SPEAKER_00]: Okay.
35:30 --> 35:33 [SPEAKER_00]: He's trying to get to the bottom of why the second in command of a pilot duo.
35:33 --> 35:46 [SPEAKER_00]: So like the copilot doesn't override the captain's orders even when it's going to cause the planned crash and things like he's getting inside the head of the copilot of the copilot and of the captain.
35:46 --> 35:47 [SPEAKER_05]: How interesting.
35:47 --> 35:48 [SPEAKER_00]: So I can comment on this.
35:49 --> 35:52 [SPEAKER_00]: but I'm just gonna have to say it's spoilers for this episode.
35:52 --> 35:53 [SPEAKER_05]: Okay, I don't care.
35:53 --> 35:59 [SPEAKER_00]: So if you really don't want spoilers listeners fast forward, like hit the thirty second button, like maybe three times.
35:59 --> 36:01 [SPEAKER_00]: So it doesn't matter.
36:01 --> 36:01 [SPEAKER_00]: It doesn't matter.
36:01 --> 36:02 [SPEAKER_00]: It's a comedy, right?
36:02 --> 36:02 [SPEAKER_00]: It's not.
36:03 --> 36:03 [SPEAKER_00]: Okay.
36:03 --> 36:06 [SPEAKER_00]: So did you see the movie, Sully?
36:06 --> 36:07 [SPEAKER_00]: Are you familiar with the story?
36:07 --> 36:09 [SPEAKER_05]: Oh, Sully, Sullenberg.
36:10 --> 36:11 [SPEAKER_05]: That's not his real name.
36:11 --> 36:13 [SPEAKER_00]: The first name is not solely, but yeah.
36:13 --> 36:15 [SPEAKER_05]: I don't remember the Hudson, the miracle on the Hudson.
36:15 --> 36:16 [SPEAKER_00]: Exactly.
36:16 --> 36:17 [SPEAKER_00]: The guy into the play in the river.
36:17 --> 36:18 [SPEAKER_00]: He's a pilot.
36:18 --> 36:22 [SPEAKER_00]: He wild landed on the river in New York, saved a bunch of lives.
36:22 --> 36:23 [SPEAKER_00]: Definitely.
36:23 --> 36:24 [SPEAKER_00]: There's a movie about it with Tom Hanks.
36:24 --> 36:25 [SPEAKER_05]: Tom Hanks.
36:25 --> 36:25 [SPEAKER_00]: There's
36:27 --> 36:31 [SPEAKER_00]: in the way that Nathan Fielder in this show gets inside the head of people.
36:31 --> 36:32 [SPEAKER_00]: There's this whole craze.
36:32 --> 36:33 [SPEAKER_00]: I can't even describe it.
36:33 --> 36:42 [SPEAKER_00]: It's mind blowing the way he does to try to understand why this pilot was able to save everybody and not make dumb decisions like the other ones that have led to deaths, right?
36:43 --> 36:51 [SPEAKER_00]: And he reads Sully's book and according to the show, and I did a few minutes of research, this is not actually real, I think.
36:51 --> 36:57 [SPEAKER_00]: But he's positing that one of Sully's favorite songs was Evan Essence's, bring me back, bring me to life.
36:57 --> 36:58 [SPEAKER_00]: Do you know the song?
37:00 --> 37:01 [SPEAKER_02]: Wake me up.
37:01 --> 37:02 [SPEAKER_02]: Okay.
37:02 --> 37:13 [SPEAKER_00]: Yes, I think it's a very, you know, it's actually, it comes from the wheelhouse of new metal, which you know, I don't like, but it's a cool.
37:13 --> 37:14 [SPEAKER_00]: They're cool.
37:14 --> 37:14 [SPEAKER_00]: They're good to like.
37:15 --> 37:20 [SPEAKER_05]: So the hypothesis here is that Sally Selenberg was seeing this evidence.
37:21 --> 37:24 [SPEAKER_00]: that he was a fan and that there's apparently in the flight log.
37:24 --> 37:30 [SPEAKER_00]: The audio, there's twenty three seconds of silence between conversation between the copilot and the pilot.
37:31 --> 37:34 [SPEAKER_00]: And that is the exact length of the chorus of that song.
37:34 --> 37:36 [SPEAKER_00]: Apparently I have not fact checked this.
37:46 --> 37:52 [SPEAKER_02]: I can't wake up before I come on tonight
37:59 --> 38:04 [SPEAKER_00]: Hey everybody, even with that little data at the end, it's only twenty-two seconds.
38:04 --> 38:05 [SPEAKER_00]: So, I don't know.
38:06 --> 38:18 [SPEAKER_00]: And that's how the implication, the assertion is that solely was in this like we're all going to die scenario and then put on evidence and says bring me to life for twenty-three seconds exactly on his iPad on his iPad.
38:19 --> 38:22 [SPEAKER_00]: And then came back and was able to make clear headed decisions and say.
38:22 --> 38:24 [SPEAKER_05]: Maybe I respect that.
38:24 --> 38:27 [SPEAKER_00]: I don't think it's true, but it's, it's an outrageous.
38:28 --> 38:30 [SPEAKER_00]: This show, I, I don't know what Alicia wants me to say.
38:30 --> 38:33 [SPEAKER_00]: Like my take on it is awesome.
38:33 --> 38:33 [SPEAKER_00]: And it's, it's
38:34 --> 38:39 [SPEAKER_00]: The irony of it is, this is a song because I don't think it's true true.
38:40 --> 38:43 [SPEAKER_00]: Like, maybe he was a fan, did he save lives because it's a song?
38:43 --> 38:44 [SPEAKER_06]: No, that's true.
38:44 --> 38:45 [SPEAKER_00]: He didn't ask.
38:45 --> 38:47 [SPEAKER_00]: He didn't have it queued up and he exactly found no.
38:48 --> 38:51 [SPEAKER_06]: But in a panic moment, you're like, wait a minute, I just need my pump up jam.
38:51 --> 38:51 [SPEAKER_06]: I know.
38:52 --> 38:57 [SPEAKER_00]: But it works as comedy, partially because it's this band that I think a lot of people have forgotten about.
38:57 --> 38:58 [SPEAKER_00]: And it's a song people remember though.
38:59 --> 39:01 [SPEAKER_00]: And so you're watching this show and you're like, oh, it's that song.
39:01 --> 39:07 [SPEAKER_00]: It's kind of almost like not quite as far as in the Barbie movie Ken singing along with Matt's box twenty.
39:08 --> 39:09 [SPEAKER_00]: But that's ridiculous.
39:09 --> 39:25 [SPEAKER_05]: Well, if you look at the lyrics of that song, you actually is so relevant to advance the plot of that movie, Kensington, that matchbox funny song, like the lyrics of it are about like male dominance and, I don't know, there's actually a lot more nuance to that song choice.
39:26 --> 39:27 [SPEAKER_05]: I think that you're giving credit for.
39:27 --> 39:27 [SPEAKER_05]: I agree with you.
39:28 --> 39:29 [SPEAKER_00]: I agree with you.
39:29 --> 39:30 [SPEAKER_00]: I agree with you.
39:30 --> 39:31 [SPEAKER_05]: It is for short plate for irony.
39:31 --> 39:34 [SPEAKER_00]: And I think Nathan Fielders doing some of that in this show.
39:34 --> 39:35 [SPEAKER_00]: Cool.
39:35 --> 39:39 [SPEAKER_00]: Can I comment Alicia on the actual like any of the rest of it?
39:39 --> 39:39 [SPEAKER_00]: I don't know.
39:39 --> 39:40 [SPEAKER_00]: Because I don't think so.
39:40 --> 39:43 [SPEAKER_00]: I don't think it's real, but it's it's a great show and great.
39:43 --> 39:44 [SPEAKER_05]: I have to watch it.
39:44 --> 39:46 [SPEAKER_05]: I just need to get through twenty million things first.
39:46 --> 39:47 [SPEAKER_00]: Yeah, I know.
39:47 --> 39:47 [SPEAKER_00]: I know.
39:47 --> 39:49 [SPEAKER_05]: The winners still trying to watch Dexter.
39:49 --> 39:52 [SPEAKER_05]: Still like the first Dexter.
39:53 --> 39:54 [SPEAKER_05]: Have we talked about that?
39:54 --> 39:55 [SPEAKER_05]: No, we don't have to.
39:55 --> 39:57 [SPEAKER_05]: We just finished Game of Thrones in our house, like a moment ago.
39:57 --> 39:58 [SPEAKER_00]: Oh my gosh, yeah, you're a few years behind.
39:58 --> 39:58 [SPEAKER_00]: Yeah.
39:58 --> 39:58 [SPEAKER_00]: Yeah.
39:58 --> 40:01 [SPEAKER_00]: Yeah, you're a few years behind.
40:01 --> 40:01 [SPEAKER_00]: Yeah.
40:01 --> 40:01 [SPEAKER_00]: Yeah.
40:01 --> 40:01 [SPEAKER_00]: Yeah.
40:01 --> 40:01 [SPEAKER_00]: Yeah.
40:02 --> 40:03 [SPEAKER_00]: Yeah, you're a few years behind.
40:03 --> 40:03 [SPEAKER_00]: Yeah.
40:03 --> 40:03 [SPEAKER_00]: Yeah.
40:03 --> 40:04 [SPEAKER_00]: Yeah.
40:04 --> 40:04 [SPEAKER_00]: Yeah.
40:04 --> 40:04 [SPEAKER_00]: Yeah.
40:04 --> 40:04 [SPEAKER_00]: Yeah.
40:05 --> 40:05 [SPEAKER_00]: Yeah.
40:05 --> 40:07 [SPEAKER_00]: You're a few years behind.
40:07 --> 40:07 [SPEAKER_00]: Yeah.
40:07 --> 40:07 [SPEAKER_00]: Yeah.
40:07 --> 40:07 [SPEAKER_00]: Yeah.
40:07 --> 40:07 [SPEAKER_00]: Yeah.
40:07 --> 40:08 [SPEAKER_00]: Yeah.
40:08 --> 40:08 [SPEAKER_00]: Yeah.
40:08 --> 40:08 [SPEAKER_00]: Yeah.
40:08 --> 40:08 [SPEAKER_00]: Yeah.
40:08 --> 40:09 [SPEAKER_00]: Yeah.
40:09 --> 40:09 [SPEAKER_00]: Yeah.
40:09 --> 40:09 [SPEAKER_00]: Yeah.
40:09 --> 40:09 [SPEAKER_00]: Yeah.
40:09 --> 40:10 [SPEAKER_00]: Yeah.
40:10 --> 40:10 [SPEAKER_00]: Yeah.
40:10 --> 40:10 [SPEAKER_00]: Yeah.
40:10 --> 40:10 [SPEAKER_00]: Yeah.
40:10 --> 40:10 [SPEAKER_00]: Yeah.
40:10 --> 40:10 [SPEAKER_00]: Yeah.
40:10 --> 40:11 [SPEAKER_05]: Yeah.
40:11 --> 40:11 [SPEAKER_05]: Yeah.
40:11 --> 40:11 [SPEAKER_05]: Yeah.
40:11 --> 40:11 [SPEAKER_05]: Yeah.
40:11 --> 40:11 [SPEAKER_05]: Yeah.
40:12 --> 40:12 [SPEAKER_05]: Yeah.
40:12 --> 40:12 [SPEAKER_05]: Yeah.
40:12 --> 40:12 [SPEAKER_05]: Yeah.
40:12 --> 40:13 [SPEAKER_05]: Yeah.
40:13 --> 40:13 [SPEAKER_05]: Yeah.
40:13 --> 40:13 [SPEAKER_05]: Yeah.
40:13 --> 40:13 [SPEAKER_05]: Yeah.
40:13 --> 40:14 [SPEAKER_05]: Yeah.
40:14 --> 40:14 [SPEAKER_05]: Yeah.
40:14 --> 40:14 [SPEAKER_05]: Yeah.
40:14 --> 40:14 [SPEAKER_00]: Yeah.
40:14 --> 40:14 [SPEAKER_00]: Yeah.
40:14 --> 40:15 [SPEAKER_00]: Yeah.
40:15 --> 40:15 [SPEAKER_00]: Yeah.
40:15 --> 40:15 [SPEAKER_00]: Yeah.
40:15 --> 40:15 [SPEAKER_00]: Yeah.
40:15 --> 40:15 [SPEAKER_00]: Yeah.
40:15 --> 40:15 [SPEAKER_05]: Yeah.
40:16 --> 40:16 [SPEAKER_05]: Yeah.
40:16 --> 40:16 [SPEAKER_05]: Yeah.
40:16 --> 40:16 [SPEAKER_05]: Yeah.
40:16 --> 40:16 [SPEAKER_05]: Yeah.
40:16 --> 40:17 [SPEAKER_05]: Yeah.
40:17 --> 40:17 [SPEAKER_05]: Yeah.
40:17 --> 40:17 [SPEAKER_05]: Yeah.
40:17 --> 40:17 [SPEAKER_05]: Yeah.
40:17 --> 40:18 [SPEAKER_05]: Yeah.
40:18 --> 40:18 [SPEAKER_05]: Yeah.
40:18 --> 40:18 [SPEAKER_05]: Yeah.
40:19 --> 40:19 [SPEAKER_00]: Yeah.
40:19 --> 40:19 [SPEAKER_00]: Yeah.
40:19 --> 40:19 [SPEAKER_00]: Yeah.
40:19 --> 40:19 [SPEAKER_00]: Yeah.
40:19 --> 40:19 [SPEAKER_00]: Yeah.
40:19 --> 40:19 [SPEAKER_00]: Yeah.
40:19 --> 40:20 [SPEAKER_00]: Yeah.
40:20 --> 40:20 [SPEAKER_00]: Yeah.
40:20 --> 40:20 [SPEAKER_00]: Yeah.
40:20 --> 40:20 [SPEAKER_00]: Yeah.
40:20 --> 40:20 [SPEAKER_00]: Yeah.
40:20 --> 40:20 [SPEAKER_00]: Yeah.
40:20 --> 40:21 [SPEAKER_00]: Yeah.
40:21 --> 40:21 [SPEAKER_00]: Yeah
40:21 --> 40:23 [SPEAKER_00]: Okay, I got the next one from Jonathan.
40:24 --> 40:28 [SPEAKER_00]: I think the fans would be interested in an episode comparing John Williams and Hans Zimmer.
40:28 --> 40:35 [SPEAKER_00]: Both are prolific geniuses, but have very different styles and the films that they score are also very different.
40:35 --> 40:39 [SPEAKER_00]: Thus, they evoke different emotions when the audience hears their iconic work.
40:40 --> 40:40 [SPEAKER_00]: Yes, no, maybe.
40:40 --> 40:47 [SPEAKER_00]: I'm going to let you talk first because we've had similar questions or requests to this in previous mail bags.
40:48 --> 40:48 [SPEAKER_00]: You want to answer for that?
40:49 --> 40:52 [SPEAKER_05]: Yeah, I love the idea of diving into movies and film.
40:52 --> 41:04 [SPEAKER_05]: I think the lorehounds spark us towards that quite a bit because there's so much intersection and there's so much depth that's added to films with the soundtracks.
41:05 --> 41:05 [SPEAKER_02]: Yeah.
41:05 --> 41:09 [SPEAKER_05]: I love the idea of exploring John Williams catalog.
41:09 --> 41:13 [SPEAKER_05]: I don't feel like I'm as familiar with Hans Zimmer, but I probably am and I just don't know it.
41:14 --> 41:16 [SPEAKER_05]: What are some things that he's scored?
41:16 --> 41:17 [SPEAKER_00]: Hansenmer has a lot of stuff.
41:17 --> 41:23 [SPEAKER_00]: The Dark Knight movies, Gladiator, Interstellar, just a lot of kind of action-y stuff.
41:24 --> 41:26 [SPEAKER_00]: And epic film.
41:26 --> 41:30 [SPEAKER_00]: In the same way that John Williams has that kind of stuff on lock.
41:32 --> 41:37 [SPEAKER_00]: I think John Williams might have the whimsy a little more, a little more of the adventure, a little less intense stuff.
41:37 --> 41:43 [SPEAKER_05]: Those movie John Williams movies seem more like Nicole coded and Hansenmer seem more marked coded.
41:44 --> 41:44 [SPEAKER_05]: to me.
41:44 --> 41:46 [SPEAKER_00]: You're more star wars than stuff?
41:46 --> 41:46 [SPEAKER_00]: I think.
41:46 --> 41:48 [SPEAKER_05]: Well, maybe not more than you.
41:48 --> 41:54 [SPEAKER_05]: I think I might also be more willing and coded, but I'm a Boston person and he's got Boston roots.
41:55 --> 41:56 [SPEAKER_00]: We have to look up who did the score.
41:57 --> 42:00 [SPEAKER_00]: Well, I know Danny Elfman did Google hunting, classic Boston film.
42:00 --> 42:04 [SPEAKER_00]: who did the, we could just find parallels with all the Boston movies and the score them.
42:04 --> 42:05 [SPEAKER_05]: That'd be fun to do.
42:06 --> 42:08 [SPEAKER_00]: So yeah, my sort of thoughts on this.
42:08 --> 42:14 [SPEAKER_00]: Yeah, great music from two great artists of, you know, the last sort of couple generations of film.
42:15 --> 42:21 [SPEAKER_00]: The deal with the film stuff, it's like, I think we could do sidetracks where we're kind of bouncing off on like, oh, yeah, what are your favorite villain themes?
42:21 --> 42:26 [SPEAKER_00]: Or let's, it's just, or like, favorite moments from John Williams scores.
42:27 --> 42:29 [SPEAKER_00]: Something I mentioned on our last mail bag, it's just too much work.
42:30 --> 42:33 [SPEAKER_00]: Like I can't, first of all, I don't have access to the scores of these.
42:33 --> 42:35 [SPEAKER_00]: These are copyright and scores.
42:35 --> 42:44 [SPEAKER_00]: I would have to spend, it's actually like a considerable amount of money to get a copy of an orchestral score, or I would have to, you know, I'd have to pay for a rental or do it illegally, right?
42:45 --> 42:48 [SPEAKER_00]: And they're not in, even they're not really in music libraries, right?
42:48 --> 42:59 [SPEAKER_00]: So if I could show up at Harvard and they're not gonna have one, they will for classical music, but not really, I mean they'll have John Williams maybe like, Star Wars, but this stuff is not easy to get.
42:59 --> 43:03 [SPEAKER_00]: I'd have to find a reduction, or I have to do the analysis by ear.
43:03 --> 43:05 [SPEAKER_00]: Either way, it's a lot of work to do.
43:05 --> 43:13 [SPEAKER_00]: And I am trained to do all that work, but I have a job and it's just this part, like I just, but if we were to do it the way, I guess here's the problem.
43:14 --> 43:22 [SPEAKER_00]: If I were to do it the way that it deserves to be done, it would take about ten times the time to prep than a regular episode.
43:22 --> 43:27 [SPEAKER_00]: So I asked myself am I willing to do it half-assed?
43:28 --> 43:35 [SPEAKER_00]: And I say, no, so could we do fun side tracks, maybe sure, but I'm not going to try to get to the bottom of Hansen.
43:35 --> 43:39 [SPEAKER_00]: We're going to have it just be BS one hour of score reading and listening for me.
43:39 --> 43:41 [SPEAKER_00]: No, it would need to be like awesome.
43:41 --> 43:43 [SPEAKER_00]: So I don't know that I can.
43:44 --> 43:45 [SPEAKER_05]: You're kind of being mean to Jonathan right now.
43:45 --> 43:49 [SPEAKER_00]: Sorry, Jonathan, like there's I can't even find a time to watch.
43:49 --> 43:51 [SPEAKER_05]: Or the record, I'm saying yes.
43:51 --> 43:52 [SPEAKER_00]: You're saying it.
43:52 --> 43:52 [SPEAKER_05]: Mark.
43:53 --> 43:54 [SPEAKER_05]: It's Mark who's saying it's too much.
43:54 --> 43:55 [SPEAKER_00]: I'm saying no.
43:57 --> 44:03 [SPEAKER_00]: When we get in our in our first season two male bag episode when someone writes in and they're like, could you distill?
44:03 --> 44:13 [SPEAKER_00]: It's like can you distill like psychology magazine or psychology periodicals over the last two years distill all the stuff on behavioral therapy or whatever.
44:13 --> 44:13 [SPEAKER_00]: Like it's just a while.
44:13 --> 44:18 [SPEAKER_05]: You mentioned the HPA access, but can you really like deep dive into the like brain reaches involved?
44:19 --> 44:20 [SPEAKER_00]: You're like, yes, you could.
44:20 --> 44:26 [SPEAKER_00]: I have literally trained to do exactly that, but, but I- This is my day off, bro.
44:26 --> 44:28 [SPEAKER_05]: Yeah, this is our fun, bro.
44:28 --> 44:28 [SPEAKER_00]: Yeah, no.
44:29 --> 44:33 [SPEAKER_00]: I'm not saying John and then we won't ever do film stuff, but diving into deep is scary to me.
44:33 --> 44:43 [SPEAKER_05]: I like the idea of doing a film side track, and I've pitched this for a while about like best hypothetical bands in movies.
44:43 --> 44:44 [SPEAKER_00]: Oh, yeah.
44:44 --> 44:45 [SPEAKER_00]: I think we might do that one day.
44:45 --> 44:46 [SPEAKER_00]: I think that's fun.
44:46 --> 44:49 [SPEAKER_00]: And that's a totally different thing to be clear from what John asked about.
44:50 --> 44:52 [SPEAKER_00]: No, not never say never.
44:52 --> 44:52 [SPEAKER_00]: Never say never.
44:53 --> 44:55 [SPEAKER_00]: We'll get some the lower-hounds.
44:55 --> 44:56 [SPEAKER_00]: Folks want it.
44:56 --> 44:56 [SPEAKER_00]: I know.
44:56 --> 44:58 [SPEAKER_00]: Clearly you guys want it again.
44:58 --> 45:04 [SPEAKER_05]: From Matt Matt K from one hunter podcast in the weird algorithm friend to the pod.
45:05 --> 45:07 [SPEAKER_05]: A couple questions enumerated.
45:07 --> 45:09 [SPEAKER_05]: This must have been an email.
45:09 --> 45:11 [SPEAKER_00]: No enumeration happening in discord.
45:12 --> 45:13 [SPEAKER_05]: His enumerated email.
45:13 --> 45:13 [SPEAKER_05]: Number one.
45:14 --> 45:18 [SPEAKER_05]: Love the PCU talk, which was a reference to that Jeremy Piven movie.
45:19 --> 45:21 [SPEAKER_05]: We talked about we talked about that with
45:21 --> 45:23 [SPEAKER_05]: Can you blow me where the pan perses?
45:23 --> 45:25 [SPEAKER_05]: Do you remember with John Favros in it?
45:25 --> 45:28 [SPEAKER_00]: Well, I don't know, because most of it, you know, it's about the Weezer episode.
45:28 --> 45:29 [SPEAKER_00]: Do we talk about the Weezer episode?
45:30 --> 45:31 [SPEAKER_05]: Oh, because it, yeah.
45:31 --> 45:33 [SPEAKER_05]: It felt like that to me, maybe.
45:33 --> 45:33 [SPEAKER_05]: I don't know.
45:33 --> 45:33 [SPEAKER_05]: I don't know.
45:33 --> 45:34 [SPEAKER_00]: I don't know.
45:34 --> 45:34 [SPEAKER_00]: I don't know.
45:34 --> 45:34 [SPEAKER_00]: I don't know.
45:34 --> 45:34 [SPEAKER_00]: I don't know.
45:34 --> 45:35 [SPEAKER_00]: I don't know.
45:35 --> 45:35 [SPEAKER_00]: I don't know.
45:35 --> 45:35 [SPEAKER_00]: I don't know.
45:35 --> 45:36 [SPEAKER_00]: I don't know.
45:36 --> 45:36 [SPEAKER_00]: I don't know.
45:36 --> 45:36 [SPEAKER_00]: I don't know.
45:36 --> 45:37 [SPEAKER_05]: I don't know.
45:37 --> 45:37 [SPEAKER_05]: I don't know.
45:37 --> 45:37 [SPEAKER_05]: I don't know.
45:37 --> 45:38 [SPEAKER_05]: I don't know.
45:38 --> 45:38 [SPEAKER_05]: I don't know.
45:38 --> 45:38 [SPEAKER_05]: I don't know.
45:38 --> 45:39 [SPEAKER_05]: I don't know.
45:39 --> 45:39 [SPEAKER_05]: I don't know.
45:39 --> 45:39 [SPEAKER_05]: I don't know.
45:39 --> 45:40 [SPEAKER_05]: I don't know.
45:40 --> 45:40 [SPEAKER_05]: I don't know.
45:40 --> 45:40 [SPEAKER_05]: I don't know.
45:40 --> 45:41 [SPEAKER_05]: I don't know.
45:41 --> 45:41 [SPEAKER_05]: I don't know.
45:41 --> 45:41 [SPEAKER_00]: I don't know.
45:41 --> 45:42 [SPEAKER_00]: I don't know.
45:42 --> 45:42 [SPEAKER_00]: I don't know.
45:42 --> 45:42 [SPEAKER_05]: I don't know.
45:42 --> 45:42 [SPEAKER_05]: I don't
45:43 --> 45:44 [SPEAKER_05]: funny.
45:44 --> 45:48 [SPEAKER_05]: I bet you would be funny to watch now because the idea of like a woke campus.
45:48 --> 45:49 [SPEAKER_05]: Right.
45:49 --> 45:51 [SPEAKER_05]: It's very topical.
45:51 --> 45:51 [SPEAKER_05]: Yeah.
45:51 --> 45:52 [SPEAKER_05]: Clearly.
45:52 --> 45:54 [SPEAKER_05]: I might do that as my prep instead of run my syllabus.
45:54 --> 45:56 [SPEAKER_05]: Just watch PCU tonight.
45:56 --> 45:56 [SPEAKER_05]: It's fine.
45:57 --> 45:57 [SPEAKER_05]: Okay.
45:57 --> 45:58 [SPEAKER_05]: So thank you for that.
45:59 --> 46:17 [SPEAKER_05]: Number two, similar to your peach early in their career discussion, I think there's an argument to be made for many of the grunge bands like Alice and Chains, Stone Temple Piles and Pearl Jam, who despite continuing to release new albums and play live shows, it's safe to say ninety nine percent of the world really only knows their first two or three albums.
46:18 --> 46:25 [SPEAKER_05]: They're also artists like who do you in the blowfish and day last soul and Boston that you could argue, you can make that argument for.
46:26 --> 46:28 [SPEAKER_05]: Yeah, I mean, who do you in the blowfish?
46:28 --> 46:36 [SPEAKER_05]: Darius Rucker left the blowfish and went on for a really relevant country music career.
46:36 --> 46:38 [SPEAKER_05]: Like he just sold out Fenway like last year.
46:38 --> 46:45 [SPEAKER_00]: But yeah, he's pointing out some bands that he agrees with our take that some artists peek and then fall out of the public eyes.
46:45 --> 46:47 [SPEAKER_05]: Yeah, I think that we're on the same page there.
46:47 --> 46:48 [SPEAKER_05]: But number three.
46:49 --> 46:51 [SPEAKER_05]: This is the true crux of my email.
46:51 --> 46:52 [SPEAKER_05]: Here we go.
46:52 --> 46:57 [SPEAKER_05]: I don't really think that we deserve fits into this argument at all.
46:57 --> 47:08 [SPEAKER_05]: Maybe you only want to hear the blue album, but I feel like the conversation you had incorrectly paints it as if they had this massive album with their only hits and the nothing and that's simply not true.
47:09 --> 47:15 [SPEAKER_05]: Throughout their career, they have constantly come back with individual songs similar to how you describe you to.
47:15 --> 47:23 [SPEAKER_05]: In fact, Beverly Hills, perfect situation in their Africa cover all charted higher on the hot one hundred than any song off the blue album.
47:24 --> 47:25 [SPEAKER_05]: What?
47:25 --> 47:33 [SPEAKER_05]: There's definitely a conversation to be had that Blue Album and Pinkerton are the last two complete albums that truly quote matter, unquote.
47:34 --> 47:47 [SPEAKER_05]: Although diehard fans would definitely argue that everything will be all right in the end, the white album and okay human are as good as those albums and frequently end up on the top five of any Weezer fans top album list.
47:48 --> 47:52 [SPEAKER_05]: I believe that Wieser has a similar career to Green Day or even my beloved Weird Alph.
47:53 --> 47:58 [SPEAKER_05]: When their popularity, abs and flows over decades, as opposed to consistently great output.
47:58 --> 48:09 [SPEAKER_05]: I think it can also be easily argued that every Wieser album, no matter how underwhelming, always has two or three songs that remind you that they are still amazing songwriters at the core.
48:09 --> 48:11 [SPEAKER_05]: Matt goes on to list some examples for us.
48:12 --> 48:15 [SPEAKER_05]: Examples, parenthetically, I won't do every album I swear.
48:16 --> 48:20 [SPEAKER_05]: Green album don't let go photograph and island in the sun.
48:20 --> 48:22 [SPEAKER_05]: I actually love island in the sun.
48:22 --> 48:24 [SPEAKER_05]: It might be one of my favorite Lisa songs.
48:24 --> 48:26 [SPEAKER_00]: I think I think we called that one out actually in our episode.
48:27 --> 48:32 [SPEAKER_05]: I think a maladroit keep fishing and dope nose never heard of him.
48:32 --> 48:33 [SPEAKER_00]: You know her dope nose?
48:33 --> 48:33 [SPEAKER_05]: No.
48:34 --> 48:34 [SPEAKER_00]: Yeah.
48:34 --> 48:36 [SPEAKER_05]: It was a perfect situation.
48:36 --> 48:40 [SPEAKER_05]: Matt K says, which is arguably the best song they ever wrote.
48:40 --> 48:41 [SPEAKER_00]: It's pretty good.
48:41 --> 48:42 [SPEAKER_00]: It's a good song.
48:42 --> 48:46 [SPEAKER_05]: All right, maybe the maybe we should have met on to try convince me that's the best song of all time.
48:46 --> 48:48 [SPEAKER_05]: Don't challenge, I'm sorry.
48:49 --> 48:50 [SPEAKER_05]: Make believe.
48:50 --> 48:55 [SPEAKER_05]: Red album, the greatest man who ever lived, trouble maker and pork and beans and even
48:56 --> 49:00 [SPEAKER_05]: I had a dude, I had a dude never heard of it.
49:00 --> 49:04 [SPEAKER_05]: Even red dude, which is a strong contender for their absolute worst album.
49:04 --> 49:09 [SPEAKER_05]: Still has, if you're wondering if I want you to, I want you to.
49:10 --> 49:13 [SPEAKER_00]: That song is very callback, wezer to one feels.
49:14 --> 49:16 [SPEAKER_00]: So I actually really like the red album.
49:16 --> 49:16 [SPEAKER_00]: It's weird.
49:16 --> 49:19 [SPEAKER_00]: It's like a double album and the other guys have lead vocals.
49:19 --> 49:20 [SPEAKER_00]: Okay, cool.
49:20 --> 49:20 [SPEAKER_00]: So look.
49:21 --> 49:24 [SPEAKER_05]: Look, Matt, we get it.
49:24 --> 49:25 [SPEAKER_00]: You like Wezer.
49:25 --> 49:26 [SPEAKER_00]: We're not saying we're right.
49:27 --> 49:31 [SPEAKER_00]: We're saying and I think we did point out like I pointed out that Beverly Hills is their biggest hit.
49:31 --> 49:34 [SPEAKER_00]: They have a bunch of hits and I haven't updated by the way.
49:34 --> 49:37 [SPEAKER_00]: I have to give after this, but we're not.
49:38 --> 49:40 [SPEAKER_00]: We're not saying wezer stops being good.
49:41 --> 49:56 [SPEAKER_00]: And you are totally right to call us out that we're wrong that in the public that it is different that when everybody's thinking of Pearl Jam, they're thinking of ten, they're not thinking of the the fixer or whatever from two thousand.
49:57 --> 50:06 [SPEAKER_00]: So the problem has a couple three or so with federal gene all that and versus where they were pretty high on the public's consciousness.
50:06 --> 50:10 [SPEAKER_00]: We're not right that the peak of the public was with blue.
50:10 --> 50:13 [SPEAKER_00]: You're totally right there that what is it?
50:13 --> 50:15 [SPEAKER_00]: Is it make believe?
50:15 --> 50:16 [SPEAKER_00]: Maybe or malage right?
50:16 --> 50:23 [SPEAKER_00]: I don't remember which one has Beverly Hills, but in terms of commercial viability, it's one of those albums where they were at their biggest.
50:24 --> 50:36 [SPEAKER_00]: It's there is a species of fan, though, in Wies are in particular, that really likes the first two and kind of explore everything else out.
50:36 --> 50:38 [SPEAKER_00]: Does that represent everybody know?
50:38 --> 50:39 [SPEAKER_05]: I'm that girl.
50:40 --> 50:40 [SPEAKER_05]: I'm that Wies are fan.
50:40 --> 50:41 [SPEAKER_00]: And we talked about that.
50:41 --> 50:48 [SPEAKER_00]: And clearly, we are over representing that population in our podcast.
50:48 --> 50:51 [SPEAKER_00]: And we have offended Matt K from the Geekscape Network.
50:51 --> 50:52 [SPEAKER_00]: We have been to many people.
50:52 --> 50:54 [SPEAKER_00]: Massive armies of podcasts.
50:54 --> 50:56 [SPEAKER_05]: I feel like that episode was our most controversial episode.
50:56 --> 50:57 [SPEAKER_00]: Really?
50:57 --> 50:58 [SPEAKER_05]: I feel like we got a lot.
50:58 --> 51:01 [SPEAKER_05]: In my personal life, I got a lot of people saying, like, how dare you?
51:01 --> 51:02 [SPEAKER_00]: How dare you?
51:02 --> 51:04 [SPEAKER_00]: I love to have you with Michael Jackson.
51:04 --> 51:06 [SPEAKER_00]: I'm like a Jackson episode where, you know what?
51:06 --> 51:08 [SPEAKER_00]: Because I was worried about blowback.
51:08 --> 51:11 [SPEAKER_00]: We haven't gotten blowback because I watched what I frickin' said.
51:11 --> 51:13 [SPEAKER_00]: Whereas the weas are episode, I don't know.
51:13 --> 51:16 [SPEAKER_00]: I'd have to listen back again, but we probably were just dicks about it.
51:17 --> 51:19 [SPEAKER_00]: Even though we were too much about what we were doing.
51:19 --> 51:20 [SPEAKER_00]: And I love it.
51:21 --> 51:24 [SPEAKER_00]: I think I said on the episode, perfect situation is an excellent song.
51:25 --> 51:26 [SPEAKER_00]: Can I give an update about Weezer?
51:26 --> 51:27 [SPEAKER_00]: Yeah.
51:28 --> 51:34 [SPEAKER_00]: We did the Weezer podcast and there was a Weezer concert coming up shortly after we recorded it.
51:36 --> 51:45 [SPEAKER_00]: I recorded an update, because we recorded the Wieser episode before I had seen the concert, which was a few months before the actual episode came out.
51:46 --> 51:55 [SPEAKER_00]: I came home, midnight or whatever, came down into my recording area, recorded a little update, put it in the episode, forgot to upload the correct version.
51:55 --> 52:01 [SPEAKER_00]: So there's like a two minute summary of this concert, because we were wondering what they would play, would they play only blue?
52:01 --> 52:05 [SPEAKER_00]: I can either play my recording or I can just people want to hear it.
52:05 --> 52:10 [SPEAKER_00]: So do you want to hear instead of me actually explaining what I remember?
52:10 --> 52:13 [SPEAKER_00]: I'm just going to play me from back then.
52:13 --> 52:14 [SPEAKER_00]: Hey everybody, Mark here.
52:15 --> 52:18 [SPEAKER_00]: Usually I chime in when I'm doing the edit of the episode.
52:18 --> 52:20 [SPEAKER_00]: I have already done the edit of the episode.
52:20 --> 52:24 [SPEAKER_00]: And now I am chiming in about a month later, maybe something like that.
52:25 --> 52:34 [SPEAKER_00]: After I went to this Weasers show, I wanted to clarify a few things, so they did not ignore the blue album and go rogue and just play a bunch of songs off their new albums.
52:34 --> 52:40 [SPEAKER_00]: They did in fact play the entirety of the blue album, but before that they played probably
52:41 --> 52:45 [SPEAKER_00]: ten of their other famous songs from various eras that kind of thing.
52:46 --> 52:56 [SPEAKER_00]: And actually did a whole thing where they played probably four or five songs from Pinkerton, which was kind of a cool nod to one of their other sort of classic albums.
52:56 --> 53:03 [SPEAKER_00]: There was a lot of visual elements, I think, to the question of whether these bands, phone in these tours, and don't really put a lot of effort.
53:03 --> 53:05 [SPEAKER_00]: I do think a lot of effort went into this.
53:05 --> 53:17 [SPEAKER_00]: There was sort of a story, believe it or not, like this whole deal with traveling to the blue planet to rescue them, and there was like space stuff going on on a screen behind them.
53:17 --> 53:19 [SPEAKER_00]: That was very, very sophisticated, though,
53:20 --> 53:23 [SPEAKER_00]: A lot of it looked sort of like the animation was generated by an AI.
53:24 --> 53:27 [SPEAKER_00]: Sorry, if you are the artist who generated all that animation.
53:27 --> 53:29 [SPEAKER_00]: But yeah, so cool show.
53:29 --> 53:30 [SPEAKER_00]: I think they did well.
53:30 --> 53:32 [SPEAKER_00]: Nice tear the blue album songs.
53:32 --> 53:34 [SPEAKER_00]: Only in dreams was quite the epic ending.
53:35 --> 53:39 [SPEAKER_00]: Also, reference to an episode you most likely have not heard yet.
53:39 --> 53:41 [SPEAKER_00]: The flaming lips were an opener.
53:42 --> 53:46 [SPEAKER_00]: Their life performance has come up in a future episode, and they were great.
53:46 --> 53:49 [SPEAKER_00]: And they have crazy stuff going on on stage.
53:49 --> 53:58 [SPEAKER_00]: At one point, they were two twenty-foot tall, inflatable pink robots on stage that were quite literally dancing to the music.
53:58 --> 54:04 [SPEAKER_00]: It was like somebody watched this as spinal tap, and then got some really crazy ideas on how to outdo those guys.
54:04 --> 54:13 [SPEAKER_00]: dinosaur junior also opened, but unfortunately, I misunderstood the show's start time to be the doors opening time and we missed their set completely.
54:13 --> 54:17 [SPEAKER_00]: Anyways, and the interjection back to the episode.
54:17 --> 54:21 [SPEAKER_05]: Um, yes, I'm still jealous of that concert.
54:21 --> 54:27 [SPEAKER_05]: Mainly the flaming lips are great, and that's a reference to the two robots were from the Yoshimi battles, the pink robot cell alone.
54:27 --> 54:29 [SPEAKER_05]: There's often pink robots.
54:30 --> 54:31 [SPEAKER_05]: in the mix of their concerts.
54:31 --> 54:34 [SPEAKER_05]: Your voice gets trashed after concerts, huh?
54:35 --> 54:36 [SPEAKER_00]: You know what I have to say?
54:36 --> 54:42 [SPEAKER_00]: And this is we can move on after this, but this is very much in support of everything Matt was saying.
54:43 --> 54:48 [SPEAKER_00]: Those songs that I don't know that well and don't even love that much.
54:48 --> 54:49 [SPEAKER_00]: Some of the later hits.
54:50 --> 54:52 [SPEAKER_00]: They were like slamming life.
54:52 --> 54:54 [SPEAKER_00]: Like, I enjoyed.
54:54 --> 54:56 [SPEAKER_00]: I do not like this on Beverly Hills very much.
54:56 --> 54:57 [SPEAKER_00]: I liked it live.
54:57 --> 54:57 [SPEAKER_00]: It was fun.
54:58 --> 54:59 [SPEAKER_00]: I was staying along.
54:59 --> 54:59 [SPEAKER_00]: I bet you.
54:59 --> 55:01 [SPEAKER_00]: I'm like, it's just a group of people.
55:01 --> 55:08 [SPEAKER_00]: And it didn't have AI generated images in the back or whatever, but they were just awesome with, they played probably like a dozen of their hits.
55:09 --> 55:15 [SPEAKER_00]: And the selections from Peaker tin were weird though, but it didn't play the ones I thought they'd play.
55:16 --> 55:17 [SPEAKER_00]: But yeah, awesome.
55:17 --> 55:18 [SPEAKER_00]: Thanks Matt.
55:18 --> 55:22 [SPEAKER_00]: Feel free to call us out when we're wrong as long as you give us props when we're right.
55:22 --> 55:23 [SPEAKER_00]: Yeah, no you will.
55:23 --> 55:24 [SPEAKER_05]: For sure.
55:24 --> 55:25 [SPEAKER_05]: That's the best.
55:26 --> 55:26 [SPEAKER_05]: All right.
55:27 --> 55:29 [SPEAKER_00]: So I've actually got the next one, even though we've been here a lot of me.
55:29 --> 55:30 [SPEAKER_00]: So this is Zacco.
55:30 --> 55:32 [SPEAKER_00]: Your sidetrack on peaking too soon.
55:32 --> 55:33 [SPEAKER_00]: Oh my gosh, from the same.
55:33 --> 55:35 [SPEAKER_00]: Yeah, we fired people up about that.
55:35 --> 55:35 [SPEAKER_05]: I told you.
55:36 --> 55:41 [SPEAKER_00]: Your sidetrack on peaking too soon got me thinking about my own concert attendants and my expectations for artists.
55:41 --> 55:47 [SPEAKER_00]: Your discussion really hit because my sixteen year old son recently told me he wanted to take his girlfriend to see the baronaked ladies.
55:48 --> 55:50 [SPEAKER_00]: So we're going to their concert in Boston next month in July.
55:50 --> 55:54 [SPEAKER_00]: Oh, a local guy's act with sugar ray opening.
55:54 --> 55:55 [SPEAKER_00]: Wow, that's quite the combo.
55:56 --> 55:58 [SPEAKER_00]: That's me editorializing.
55:58 --> 56:07 [SPEAKER_00]: I'm very excited because I've never seen either group in concert, but after listening to your episode, I realized I don't know if either of those artists have put out anything new in the last two decades.
56:07 --> 56:11 [SPEAKER_00]: I've been listening to the Bear Naked Ladies greatest hits album since it came out in two thousand one.
56:12 --> 56:14 [SPEAKER_00]: Turns out they've put out more than ten albums since then.
56:15 --> 56:18 [SPEAKER_00]: On one hand, I started listening to the new albums and have been enjoying them.
56:18 --> 56:24 [SPEAKER_00]: On the other hand, however, I would be very happy if their set was just the greatest hits that I'm familiar with, which is surely frustrating to the band.
56:25 --> 56:31 [SPEAKER_00]: With Sugar Ray, I realized I know far less only their few radio hits, which wouldn't even make up a concert set.
56:31 --> 56:34 [SPEAKER_00]: Parenthetically, not the crazy new metal, probably the pop.
56:35 --> 56:36 [SPEAKER_00]: I also listen, this is Baptist Act.
56:37 --> 56:39 [SPEAKER_00]: I also listen to the weird algorithm, podcast.
56:39 --> 56:45 [SPEAKER_00]: Weird algorithm, podcast, the entire career of weird alien comic dissected one song at a time, hosted by Matt Kelly and Matthew Milligan.
56:46 --> 56:51 [SPEAKER_00]: We just heard from Matthew Kelly, which is co-hosted by Matt Milligan, the basis from Weetus.
56:51 --> 56:52 [SPEAKER_00]: Remember Weetus?
56:52 --> 56:52 [SPEAKER_00]: Yeah.
56:52 --> 56:53 [SPEAKER_00]: We just is great.
56:53 --> 57:07 [SPEAKER_00]: Similar to your discussion, he, I guess Matt, has talked about how much he appreciates when fans tell him they love songs other than the hits and how he can see parts of the audience tune out when they start playing the band's less well-known songs.
57:07 --> 57:10 [SPEAKER_05]: I have so much to say towards this comment.
57:11 --> 57:11 [SPEAKER_00]: Thank you, Zach.
57:13 --> 57:16 [SPEAKER_05]: starting with what a great concert.
57:16 --> 57:18 [SPEAKER_05]: That's already happened at the time of recording this.
57:18 --> 57:21 [SPEAKER_05]: So please write back to us and let us know how it was.
57:24 --> 57:28 [SPEAKER_05]: And I feel like, you know, these bands, a bare naked lese for sure has a ton of new music.
57:28 --> 57:31 [SPEAKER_05]: And they do a lot of like, kids music to which is really interesting.
57:31 --> 57:33 [SPEAKER_00]: They might have an entire kid album.
57:33 --> 57:35 [SPEAKER_05]: I think they do in a, I remember being really, really good.
57:36 --> 57:38 [SPEAKER_05]: And then they're going to play their hits.
57:38 --> 57:40 [SPEAKER_05]: I mean, that's, they know what, they know what the people want.
57:40 --> 57:41 [SPEAKER_05]: I think that they get it.
57:41 --> 57:46 [SPEAKER_05]: But Sugar Ray, you said the old stuff, not the new metal stuff, Sugar Ray pivot to
57:47 --> 57:49 [SPEAKER_00]: They were a new metal band.
57:49 --> 57:55 [SPEAKER_00]: If you listen to the album that has fly on it because by the time once they hit big they turned into like a pop rock band.
57:55 --> 58:02 [SPEAKER_00]: But it's like new metal like the trust the weight of what I'm about to say like a poor man's limp biscuit from me.
58:02 --> 58:03 [SPEAKER_00]: What does that mean right?
58:04 --> 58:05 [SPEAKER_00]: So can I play and look
58:07 --> 58:07 [SPEAKER_00]: I don't.
58:07 --> 58:08 [SPEAKER_05]: I don't.
58:08 --> 58:10 [SPEAKER_00]: I don't hate all new metal.
58:10 --> 58:13 [SPEAKER_00]: And I certainly don't hate all sugar ray.
58:13 --> 58:15 [SPEAKER_00]: But sugar ray doing new metal.
58:16 --> 58:21 [SPEAKER_00]: This is a song called RPM, which is one I remember being their sort of new metal stuff.
58:21 --> 58:26 [SPEAKER_00]: And they were much more of this before they randomly just did that song fly.
58:38 --> 58:40 [SPEAKER_01]: I will let you
58:51 --> 58:53 [SPEAKER_00]: Uh, just won't fly.
58:53 --> 58:57 [SPEAKER_05]: I cannot overstate how much I just like that.
58:57 --> 58:58 [SPEAKER_05]: Okay.
58:58 --> 58:59 [SPEAKER_05]: So bad.
58:59 --> 59:00 [SPEAKER_00]: I think that's the same album that that's all.
59:01 --> 59:03 [SPEAKER_05]: That doesn't even make sense to me.
59:03 --> 59:04 [SPEAKER_00]: It's wild, right?
59:04 --> 59:04 [SPEAKER_05]: I hate it.
59:05 --> 59:09 [SPEAKER_05]: I don't know what the fart noise is for about and felt like it was just a bunch of fart noises.
59:09 --> 59:09 [SPEAKER_00]: I don't know.
59:09 --> 59:12 [SPEAKER_00]: I don't know what excerpt I'm going to leave for the audience, but she heard it.
59:13 --> 59:15 [SPEAKER_00]: I want to put Nicole took the headphones off.
59:15 --> 59:19 [SPEAKER_06]: It was just like too much is not for me.
59:19 --> 59:20 [SPEAKER_06]: Okay.
59:20 --> 59:21 [SPEAKER_06]: I appreciate him.
59:21 --> 59:25 [SPEAKER_05]: I kind of had the guy had a crush on him when they came up.
59:25 --> 59:27 [SPEAKER_05]: I guess it was like the frosted tips for me.
59:28 --> 59:29 [SPEAKER_00]: And some of those songs are good songs.
59:29 --> 59:30 [SPEAKER_05]: Yeah.
59:30 --> 59:31 [SPEAKER_00]: Every morning.
59:31 --> 59:32 [SPEAKER_00]: That's a cool show like that.
59:32 --> 59:32 [SPEAKER_00]: Someday.
59:32 --> 59:34 [SPEAKER_00]: I look like that someday.
59:34 --> 59:36 [SPEAKER_05]: Like I just don't see how it's the same band.
59:36 --> 59:36 [SPEAKER_05]: I don't know.
59:36 --> 59:37 [SPEAKER_05]: They need to find their voice.
59:37 --> 59:40 [SPEAKER_00]: I mean, it's classic nineties sort of sell up.
59:40 --> 59:41 [SPEAKER_00]: I wonder.
59:41 --> 59:41 [SPEAKER_05]: It's so funny.
59:41 --> 59:48 [SPEAKER_05]: I want to hear about this concert because like you go there wanting to hear fly, wanting to hear like the pop music, but they have to fill a set.
59:48 --> 59:50 [SPEAKER_05]: So they're going to play other stuff.
59:50 --> 59:54 [SPEAKER_00]: Hey, I gave you all an update after the winter vacation.
59:54 --> 59:54 [SPEAKER_00]: Oh, right.
59:55 --> 59:58 [SPEAKER_05]: Because I want to know what places in the crowd when they started playing whatever that was.
59:58 --> 59:58 [SPEAKER_05]: Yeah.
59:59 --> 01:00:17 [SPEAKER_00]: do they play RPM and like the new metal stuff or you know I saw I saw sugar ray once like as a part of one of these kind of nineties nostalgia things so this was probably a ten years ago so it wasn't as nostalgic like they play with lit and ever clear random show I saw I don't remember if they played the new metal stuff
01:00:19 --> 01:00:19 [SPEAKER_05]: All right.
01:00:19 --> 01:00:19 [SPEAKER_00]: Yeah.
01:00:19 --> 01:00:20 [SPEAKER_00]: I mean, cool.
01:00:20 --> 01:00:21 [SPEAKER_00]: Super curious to hear.
01:00:21 --> 01:00:23 [SPEAKER_00]: Thanks for writing about it though.
01:00:23 --> 01:00:23 [SPEAKER_05]: Okay.
01:00:23 --> 01:00:27 [SPEAKER_05]: Our next two back is from Dave G. I loved the incubus episode.
01:00:28 --> 01:00:33 [SPEAKER_05]: Make yourself was one of my favorite albums for many, many years and was stoked to hear you will talk about stellar.
01:00:33 --> 01:00:40 [SPEAKER_05]: Mike Ensinger to me is in the same league as Andy Summers as far as creativity and the use of effects goes.
01:00:40 --> 01:00:42 [SPEAKER_00]: Andy Summers from the police.
01:00:42 --> 01:00:42 [SPEAKER_05]: Nice.
01:00:43 --> 01:00:43 [SPEAKER_00]: Yeah.
01:00:43 --> 01:00:47 [SPEAKER_05]: Funny enough, I got into three eleven and incubus exactly at the same time.
01:00:47 --> 01:00:48 [SPEAKER_05]: I mean, that tracks to me.
01:00:49 --> 01:00:54 [SPEAKER_05]: Back in two thousand, my younger brother had tickets to see three eleven and incubus on the same bill.
01:00:55 --> 01:00:57 [SPEAKER_05]: One of his friends couldn't go and he offered me the ticket.
01:00:57 --> 01:01:02 [SPEAKER_05]: I happened to dislike both bands at the time, but decided what the hell and went anyway.
01:01:03 --> 01:01:06 [SPEAKER_00]: Can I just say that's an amazing way to live your life.
01:01:06 --> 01:01:06 [SPEAKER_05]: I love that.
01:01:06 --> 01:01:08 [SPEAKER_05]: Go see life music.
01:01:08 --> 01:01:13 [SPEAKER_00]: I would see someone had to me take it to see only the new metal parts of Sugar Ray.
01:01:13 --> 01:01:14 [SPEAKER_00]: I'd be like, yeah, I'll see that.
01:01:15 --> 01:01:20 [SPEAKER_05]: I always go unless I'm tired or school night unless it's every day.
01:01:20 --> 01:01:21 [SPEAKER_05]: Go ahead.
01:01:22 --> 01:01:22 [SPEAKER_00]: Sorry.
01:01:23 --> 01:01:25 [SPEAKER_05]: But back in two thousand, I was very into it.
01:01:25 --> 01:01:25 [SPEAKER_00]: That's right.
01:01:25 --> 01:01:29 [SPEAKER_05]: Um, we couldn't be the trafficked ended ended up missing in Cuba's book art.
01:01:29 --> 01:01:31 [SPEAKER_05]: They're right when three loving came out.
01:01:31 --> 01:01:32 [SPEAKER_05]: Wow.
01:01:32 --> 01:01:33 [SPEAKER_05]: They just rocked live.
01:01:33 --> 01:01:36 [SPEAKER_05]: I must have bought their entire catalog after that show.
01:01:36 --> 01:01:39 [SPEAKER_05]: I also picked up, make yourself around that time on a whim.
01:01:39 --> 01:01:46 [SPEAKER_05]: And weirdly enough, the thing that hooked me was the first song in the album called Privilege has a very three eleven like riff.
01:01:46 --> 01:01:47 [SPEAKER_05]: So I became an incubator.
01:01:47 --> 01:01:58 [SPEAKER_05]: Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny, Danny,
01:02:09 --> 01:02:16 [SPEAKER_05]: I'll have to say, I had a similar experience with three eleven that I didn't really know them and then I saw them live around that same time.
01:02:16 --> 01:02:19 [SPEAKER_05]: I mean, I was like the time that you would see three eleven.
01:02:20 --> 01:02:21 [SPEAKER_05]: And I loved them.
01:02:21 --> 01:02:25 [SPEAKER_05]: They were, they were great live act and they had like a big following.
01:02:26 --> 01:02:28 [SPEAKER_05]: Like we listened to three eleven quite a bit in there.
01:02:28 --> 01:02:29 [SPEAKER_00]: They did a drum break thing.
01:02:30 --> 01:02:31 [SPEAKER_00]: where they all get on drums.
01:02:32 --> 01:02:39 [SPEAKER_00]: I saw them in an era when all of them were playing like, like, the drummers on drum drum, like drum set, but then everybody else was playing hand drums and big boomies.
01:02:39 --> 01:02:52 [SPEAKER_05]: Yeah, they really, it was like kind of like, sublime, rusted root, incubus, all in that, like, there's a venn diagram of those like early odd bands that three, eleven sits has a nice piece of real estate in.
01:02:52 --> 01:02:57 [SPEAKER_00]: It is interesting, like, to what extent they really have anything to do with incubus, but they feel like.
01:02:57 --> 01:02:58 [SPEAKER_00]: They do the same.
01:02:58 --> 01:02:59 [SPEAKER_00]: They're both funky.
01:03:00 --> 01:03:03 [SPEAKER_00]: But three, eleven's got a lot more reggae in hip hop.
01:03:03 --> 01:03:03 [SPEAKER_00]: Right.
01:03:04 --> 01:03:06 [SPEAKER_05]: No, it is like, it's like, thank you best to blind.
01:03:06 --> 01:03:09 [SPEAKER_05]: That diagram and three, eleven's right in the middle of it.
01:03:09 --> 01:03:10 [SPEAKER_00]: It's interesting.
01:03:10 --> 01:03:11 [SPEAKER_05]: It is super interesting.
01:03:11 --> 01:03:24 [SPEAKER_05]: And Dave, I really, I line up with your comments because that seems like in in a different timeline, I would have been right next to you at that experience because it seems very unbranded for me in the early two thousands.
01:03:25 --> 01:03:27 [SPEAKER_00]: We obviously already talked a lot about incubus.
01:03:28 --> 01:03:29 [SPEAKER_00]: I don't know if we're going to talk about three, eleven much.
01:03:30 --> 01:03:51 [SPEAKER_00]: three eleven is an interesting case to me there's a big delta there like i've seen them live i thought they were great i really like some three eleven and then there's some stuff that i hear that i don't really and this is not just like oh the new stuff no it's not that it's all here in album that i like and there's a couple songs that are skips and i feel like there's not a lot of bands that i read that i see that much of a
01:03:52 --> 01:03:57 [SPEAKER_00]: difference between their good and like if it's a band, I like I tend to get it all.
01:03:58 --> 01:04:03 [SPEAKER_00]: And it's not to say, I hate the stuff I don't love, but, you know, there are kind of two bands in certain ways.
01:04:03 --> 01:04:07 [SPEAKER_05]: I understand that for me through eleven is just such an nostalgia piece for me.
01:04:07 --> 01:04:12 [SPEAKER_05]: I haven't listened to them in over twenty years, like twenty years for sure.
01:04:12 --> 01:04:16 [SPEAKER_05]: But like it, it's a time capsule for me in a really kind of lovely one.
01:04:16 --> 01:04:18 [SPEAKER_05]: So I'm going to give three eleven.
01:04:18 --> 01:04:20 [SPEAKER_05]: I'll listen to on my way home today and see if I can hang.
01:04:21 --> 01:04:24 [SPEAKER_00]: Three eleven came up in a composition less than I gave a few weeks ago.
01:04:24 --> 01:04:32 [SPEAKER_00]: A guy was I'm teaching a composition class to an individual student over the summer and he had a chord progression and he was trying to figure out where to go with it.
01:04:33 --> 01:04:37 [SPEAKER_00]: And I was like this chord progression sounds exactly like the song use of time by three eleven.
01:04:38 --> 01:04:39 [SPEAKER_00]: Let's see what they go with.
01:04:39 --> 01:04:46 [SPEAKER_00]: And then this one also, this corporation also is used in something about you by level forty two.
01:04:46 --> 01:04:49 [SPEAKER_00]: I'm going to play it for you and see if you want to steal from either of these bands.
01:04:49 --> 01:04:50 [SPEAKER_00]: So super random.
01:04:51 --> 01:04:54 [SPEAKER_00]: I also haven't listened to three, eleven much besides that lately.
01:04:54 --> 01:04:55 [SPEAKER_04]: I think we need to get into it.
01:04:55 --> 01:04:55 [SPEAKER_00]: Yeah.
01:04:55 --> 01:04:55 [SPEAKER_00]: Cool.
01:04:56 --> 01:04:56 [SPEAKER_04]: Awesome.
01:04:56 --> 01:04:56 [SPEAKER_04]: Great comments.
01:04:56 --> 01:04:57 [SPEAKER_04]: Thanks Dave.
01:04:57 --> 01:05:19 [SPEAKER_00]: I've got the next one from Davey Mac listening to the Lizzo episode now and two musicians with hidden talents that come to mind are great graphic from bad religion having a PhD in zoology and Dexter Holland they offspring having a PhD in molecular biology you know what wait to go guys it's awesome that Dexter Holland with offspring that just came up in my algorithm fed me an article about him contributing to some
01:05:20 --> 01:05:41 [SPEAKER_05]: Vaccine or something that was just released like very recently he's like not either funding or he made the last vaccine the last one no was I forget what it was for I think was like for AIDS or not COVID but some like influential vaccine yeah and I meant to bring it up to you for so thanks Dave Mack for bringing that to our attention
01:05:41 --> 01:05:44 [SPEAKER_00]: Yeah, in bad religion, I feel like I may be mentioned this at one point.
01:05:44 --> 01:05:46 [SPEAKER_00]: Bad religion, everybody knows probably by this point.
01:05:46 --> 01:05:51 [SPEAKER_00]: One of my favorite bands, I was a grad student at UCLA.
01:05:52 --> 01:06:01 [SPEAKER_00]: Did he my master's while he was a post doc at UCLA in the like zoology or integrated biology department or whatever teaching lectures and I like what?
01:06:02 --> 01:06:02 [SPEAKER_00]: I was a T.A.
01:06:03 --> 01:06:19 [SPEAKER_00]: so I got my tuition covered and I you know, I'd take a random like I'll take a class in another department just because I had half of mine and I just couldn't I couldn't bear to do it to just take one of his classes so I could bug him during office hours and talk, you know, stop for an against the grain and stuff like that.
01:06:19 --> 01:06:20 [SPEAKER_00]: And I never did.
01:06:20 --> 01:06:21 [SPEAKER_00]: I never had the guts to go to his office hours.
01:06:21 --> 01:06:22 [SPEAKER_00]: I don't want to be that guy.
01:06:25 --> 01:06:25 [SPEAKER_05]: What do they call?
01:06:26 --> 01:06:27 [SPEAKER_05]: I can't think I can't find the word.
01:06:27 --> 01:06:31 [SPEAKER_05]: When you like, look inside the dead thing, you like cut it open.
01:06:31 --> 01:06:31 [SPEAKER_05]: That's exactly.
01:06:31 --> 01:06:32 [SPEAKER_05]: You don't want to dice that.
01:06:32 --> 01:06:33 [SPEAKER_05]: I don't want to do that.
01:06:33 --> 01:06:33 [SPEAKER_00]: I don't want to do that.
01:06:33 --> 01:06:34 [SPEAKER_00]: I don't want to do that.
01:06:34 --> 01:06:35 [SPEAKER_00]: I don't want to do that.
01:06:35 --> 01:06:36 [SPEAKER_00]: I don't want to do that.
01:06:36 --> 01:06:37 [SPEAKER_00]: I don't want to do that.
01:06:37 --> 01:06:37 [SPEAKER_00]: I don't want to do that.
01:06:37 --> 01:06:38 [SPEAKER_05]: I don't want to do that.
01:06:38 --> 01:06:39 [SPEAKER_00]: I don't want to do that.
01:06:39 --> 01:06:41 [SPEAKER_00]: I don't want to do that.
01:06:41 --> 01:06:41 [SPEAKER_00]: I don't want to do that.
01:06:41 --> 01:06:42 [SPEAKER_00]: I don't want to do that.
01:06:42 --> 01:06:43 [SPEAKER_00]: I don't want to do that.
01:06:43 --> 01:06:44 [SPEAKER_00]: I don't want to do that.
01:06:44 --> 01:06:45 [SPEAKER_00]: I don't want to do that.
01:06:45 --> 01:06:45 [SPEAKER_00]: I don't want to do that.
01:06:45 --> 01:06:46 [SPEAKER_05]: I don't want to do that.
01:06:46 --> 01:06:47 [SPEAKER_05]: I don't want to do that.
01:06:47 --> 01:06:48 [SPEAKER_05]: I don't want to do that.
01:06:48 --> 01:06:48 [SPEAKER_05]: I don't want to do that.
01:06:48 --> 01:06:49 [SPEAKER_05]: I don't want to do that.
01:06:49 --> 01:06:50 [SPEAKER_05]: I don't want to do that.
01:06:50 --> 01:06:51 [SPEAKER_05]: I don't want
01:06:51 --> 01:07:00 [SPEAKER_05]: Our next feedback is from Andy R. I've discovered with the health of Spotify's algorithm the two best songs of twenty twenty five and one to let you know.
01:07:00 --> 01:07:00 [SPEAKER_05]: All right.
01:07:01 --> 01:07:03 [SPEAKER_05]: They're both by LL burns.
01:07:03 --> 01:07:07 [SPEAKER_05]: The first one's called here I am and the second is called don't call me at home.
01:07:08 --> 01:07:08 [SPEAKER_05]: I'm addicted.
01:07:08 --> 01:07:11 [SPEAKER_05]: I warn you you may emerge as addicted as well.
01:07:12 --> 01:07:13 [SPEAKER_05]: Good morning.
01:07:13 --> 01:07:16 [SPEAKER_05]: The soulful and innate musicalities off the charts.
01:07:17 --> 01:07:19 [SPEAKER_05]: Let it get into you as I have.
01:07:19 --> 01:07:21 [SPEAKER_05]: Wow.
01:07:21 --> 01:07:22 [SPEAKER_00]: How are you to handle this?
01:07:23 --> 01:07:25 [SPEAKER_05]: I'm going to listen to it on my own time and circle back.
01:07:25 --> 01:07:26 [SPEAKER_05]: I don't want to play a little bit.
01:07:26 --> 01:07:27 [SPEAKER_00]: Should I play a clip?
01:07:27 --> 01:07:28 [SPEAKER_00]: So there are two songs.
01:07:28 --> 01:07:31 [SPEAKER_00]: The first one's more sort of acoustic singer songwriter.
01:07:31 --> 01:07:33 [SPEAKER_00]: The second one's a little more kind of psychedelic.
01:07:33 --> 01:07:35 [SPEAKER_00]: There's a little more instruments in there.
01:07:35 --> 01:07:38 [SPEAKER_00]: If we play a short clip for everybody, which one should we play?
01:07:38 --> 01:07:39 [SPEAKER_00]: What do you, what do you feel like?
01:07:39 --> 01:07:42 [SPEAKER_00]: I mean, and then everybody, yes, listen on your own time again.
01:07:42 --> 01:07:44 [SPEAKER_00]: LL burns here, I am, and don't call me at home.
01:07:44 --> 01:07:45 [SPEAKER_05]: I didn't call me at home.
01:07:46 --> 01:07:47 [SPEAKER_05]: I'm really intrigued by the title of it.
01:07:48 --> 01:07:48 [SPEAKER_00]: Okay.
01:07:48 --> 01:07:49 [SPEAKER_05]: Because who's calling?
01:07:49 --> 01:07:50 [SPEAKER_05]: Because you landline at home, anyway.
01:07:50 --> 01:07:52 [SPEAKER_00]: Because you empathize with the feeling.
01:07:52 --> 01:07:54 [SPEAKER_05]: Please don't call me at home.
01:07:54 --> 01:08:03 [SPEAKER_01]: I feel my heart sing like a stone.
01:08:04 --> 01:08:06 [SPEAKER_01]: And I love asking.
01:08:08 --> 01:08:15 [SPEAKER_01]: I like that a lot.
01:08:15 --> 01:08:18 [SPEAKER_05]: I like it a lot.
01:08:18 --> 01:08:19 [SPEAKER_00]: Guys, huh?
01:08:19 --> 01:08:19 [SPEAKER_05]: It is nice.
01:08:20 --> 01:08:20 [SPEAKER_05]: I'll put it on.
01:08:20 --> 01:08:21 [SPEAKER_00]: I like the other one too.
01:08:21 --> 01:08:22 [SPEAKER_05]: Yeah, I'll check it out.
01:08:22 --> 01:08:27 [SPEAKER_05]: I'll give it billing as a top song for twenty five, at least until Taylor's new album comes out.
01:08:27 --> 01:08:28 [SPEAKER_00]: Yeah, Taylor's new album.
01:08:28 --> 01:08:28 [SPEAKER_00]: Coming soon.
01:08:29 --> 01:08:29 [SPEAKER_00]: Yeah, it's good.
01:08:29 --> 01:08:30 [SPEAKER_00]: Thanks so much.
01:08:30 --> 01:08:31 [SPEAKER_05]: Thank you.
01:08:31 --> 01:08:32 [SPEAKER_00]: Thanks for writing in Andy.
01:08:33 --> 01:08:38 [SPEAKER_00]: I got the next one for Mike W. I was just in the car listening to Bonnebo and the song recurring came on.
01:08:38 --> 01:08:41 [SPEAKER_00]: So this is the, this is the doctors in the house.
01:08:41 --> 01:08:44 [SPEAKER_00]: Someone came to office hours to ask for their, for my take, I think.
01:08:45 --> 01:08:45 [SPEAKER_02]: Okay.
01:08:45 --> 01:08:50 [SPEAKER_00]: Um, for the first twenty eight seconds, it's clearly in three, but then some drum start and ruin everything.
01:08:51 --> 01:08:55 [SPEAKER_00]: The melody that was in three keeps going, but something about it changes in the song morphs into four.
01:08:56 --> 01:08:59 [SPEAKER_00]: was the intro bit actually in four, but I don't have enough context to hear it.
01:08:59 --> 01:09:03 [SPEAKER_00]: Rewinding back, I still can't count it in four even though I know what's coming.
01:09:03 --> 01:09:04 [SPEAKER_00]: It's weird.
01:09:04 --> 01:09:05 [SPEAKER_00]: Okay.
01:09:05 --> 01:09:07 [SPEAKER_00]: The question is what the hell is going on, right?
01:09:08 --> 01:09:13 [SPEAKER_00]: And the doctor is in the house and I listen to the song and I've got an answer.
01:09:13 --> 01:09:15 [SPEAKER_00]: Let's listen and I'll tell you what I'm talking about.
01:09:21 --> 01:09:24 [SPEAKER_00]: So I would say, you could say this is in three, but I think it's in compound meter.
01:09:24 --> 01:09:25 [SPEAKER_00]: Nicole's favorite.
01:09:25 --> 01:09:28 [SPEAKER_00]: One, two, and one.
01:09:28 --> 01:09:29 [SPEAKER_05]: Two, three, four, five, six.
01:09:29 --> 01:09:31 [SPEAKER_00]: Right, or twelve, whatever, something like that.
01:09:33 --> 01:09:34 [SPEAKER_00]: But then listen to what happens.
01:09:43 --> 01:09:47 [SPEAKER_00]: Three, four, one, two, three, four.
01:09:55 --> 01:10:01 [SPEAKER_05]: I know you said you're the expert, but I think we can all agree after listen to that.
01:10:02 --> 01:10:07 [SPEAKER_05]: There is a transition, but the transition is like muddy almost like for me.
01:10:07 --> 01:10:09 [SPEAKER_05]: It's like cloudy.
01:10:09 --> 01:10:13 [SPEAKER_05]: So I can't like count the count here.
01:10:13 --> 01:10:15 [SPEAKER_00]: You can count your six if you want.
01:10:15 --> 01:10:21 [SPEAKER_00]: But if you want to do it right, just go one two one and like that count count the six eight like it's in two.
01:10:23 --> 01:10:23 [SPEAKER_00]: One.
01:10:23 --> 01:10:24 [SPEAKER_00]: Two.
01:10:24 --> 01:10:24 [SPEAKER_00]: One.
01:10:24 --> 01:10:24 [SPEAKER_00]: Two.
01:10:24 --> 01:10:24 [SPEAKER_00]: One.
01:10:24 --> 01:10:25 [SPEAKER_00]: Two.
01:10:25 --> 01:10:25 [SPEAKER_00]: One.
01:10:25 --> 01:10:25 [SPEAKER_00]: Two.
01:10:25 --> 01:10:25 [UNKNOWN]: One.
01:10:26 --> 01:10:26 [SPEAKER_00]: Two.
01:10:26 --> 01:10:26 [SPEAKER_05]: One.
01:10:26 --> 01:10:26 [SPEAKER_05]: Two.
01:10:26 --> 01:10:26 [SPEAKER_00]: One.
01:10:26 --> 01:10:26 [SPEAKER_00]: Two.
01:10:26 --> 01:10:26 [SPEAKER_00]: One.
01:10:26 --> 01:10:26 [SPEAKER_00]: Two.
01:10:26 --> 01:10:26 [SPEAKER_00]: One.
01:10:27 --> 01:10:27 [SPEAKER_00]: Two.
01:10:27 --> 01:10:27 [SPEAKER_00]: One.
01:10:27 --> 01:10:27 [SPEAKER_00]: Two.
01:10:27 --> 01:10:27 [SPEAKER_00]: One.
01:10:27 --> 01:10:27 [SPEAKER_00]: Two.
01:10:27 --> 01:10:27 [SPEAKER_00]: One.
01:10:27 --> 01:10:27 [SPEAKER_00]: Two.
01:10:27 --> 01:10:27 [SPEAKER_00]: One.
01:10:28 --> 01:10:28 [SPEAKER_00]: Two.
01:10:28 --> 01:10:28 [SPEAKER_00]: One.
01:10:28 --> 01:10:28 [SPEAKER_00]: Two.
01:10:28 --> 01:10:28 [SPEAKER_00]: One.
01:10:28 --> 01:10:28 [SPEAKER_00]: Two.
01:10:28 --> 01:10:28 [SPEAKER_00]: One.
01:10:28 --> 01:10:28 [SPEAKER_00]: Two.
01:10:28 --> 01:10:28 [SPEAKER_00]: One.
01:10:28 --> 01:10:28 [SPEAKER_00]: Two.
01:10:28 --> 01:10:28 [SPEAKER_00]: One.
01:10:28 --> 01:10:29 [SPEAKER_00]: Two.
01:10:29 --> 01:10:29 [SPEAKER_00]: One.
01:10:29 --> 01:10:29 [SPEAKER_00]: Two.
01:10:29 --> 01:10:29 [SPEAKER_00]: One.
01:10:29 --> 01:10:30 [SPEAKER_05]: Two.
01:10:30 --> 01:10:30 [SPEAKER_00]: One.
01:10:30 --> 01:10:30 [SPEAKER_00]: Two.
01:10:30 --> 01:10:30 [SPEAKER_00]: One.
01:10:30 --> 01:10:30 [SPEAKER_00]: Two.
01:10:30 --> 01:10:30 [SPEAKER_00]: One.
01:10:30 --> 01:10:30 [SPEAKER_00]: Two.
01:10:30 --> 01:10:30 [SPEAKER_00]: One.
01:10:30 --> 01:10:30 [SPEAKER_00]: Two.
01:10:30 --> 01:10:31 [SPEAKER_00]: One.
01:10:31 --> 01:10:31 [SPEAKER_00]: Two.
01:10:31 --> 01:10:31 [SPEAKER_05]: One.
01:10:31 --> 01:10:31 [SPEAKER_05]: Two.
01:10:31 --> 01:10:31 [SPEAKER_05]: One.
01:10:31 --> 01:10:31 [SPEAKER_05]: Two.
01:10:31 --> 01:10:31 [SPEAKER_05]: One.
01:10:31 --> 01:10:31 [SPEAKER_05]: Two.
01:10:31 --> 01:10:31 [SPEAKER_05]: One.
01:10:32 --> 01:10:32 [SPEAKER_05]: Two.
01:10:32 --> 01:10:32 [SPEAKER_05]: One.
01:10:32 --> 01:10:32 [SPEAKER_05]: Two.
01:10:32 --> 01:10:32 [SPEAKER_05]: One.
01:10:32 --> 01:10:32 [SPEAKER_00]: Two.
01:10:32 --> 01:10:32 [SPEAKER_00]: One.
01:10:32 --> 01:10:32 [SPEAKER_00]: Two.
01:10:32 --> 01:10:32 [SPEAKER_00]: One.
01:10:32 --> 01:10:33 [SPEAKER_00]: Two.
01:10:33 --> 01:10:33 [SPEAKER_05]: One.
01:10:33 --> 01:10:33 [SPEAKER_05]: Two.
01:10:33 --> 01:10:33 [SPEAKER_05]: One.
01:10:33 --> 01:10:33 [SPEAKER_05]: Two.
01:10:33 --> 01:10:33 [SPEAKER_05]: One.
01:10:33 --> 01:10:33 [SPEAKER_05]: Two.
01:10:33 --> 01:10:33 [SPEAKER_05]: One.
01:10:33 --> 01:10:33 [SPEAKER_05]: Two.
01:10:33 --> 01:10:33 [SPEAKER_05]: One.
01:10:33 --> 01:10:33 [SPEAKER_05]: Two.
01:10:34 --> 01:10:34 [SPEAKER_05]: One.
01:10:34 --> 01:10:34 [SPEAKER_05]: Two.
01:10:34 --> 01:10:34 [SPEAKER_00]: One.
01:10:34 --> 01:10:34 [SPEAKER_05]: Two.
01:10:34 --> 01:10:34 [SPEAKER_05]: One.
01:10:34 --> 01:10:34 [SPEAKER_05]: Two.
01:10:34 --> 01:10:34 [SPEAKER_05]: One.
01:10:34 --> 01:10:34 [SPEAKER_05]: Two.
01:10:34 --> 01:10:34 [SPEAKER_05]: One.
01:10:34 --> 01:10:35 [SPEAKER_05]: Two.
01:10:35 --> 01:10:35 [SPEAKER_05]: One.
01:10:35 --> 01:10:35 [SPEAKER_05]: Two.
01:10:35 --> 01:10:35 [SPEAKER_05]: One.
01:10:35 --> 01:10:35 [SPEAKER_05]: Two.
01:10:35 --> 01:10:35 [SPEAKER_05]: One.
01:10:35 --> 01:10:36 [SPEAKER_05]: Two.
01:10:36 --> 01:10:36 [SPEAKER_05]: One.
01:10:36 --> 01:10:36 [SPEAKER_05]: Two.
01:10:36 --> 01:10:36 [SPEAKER_05]: One.
01:10:36 --> 01:10:36 [SPEAKER_05]: Two.
01:10:36 --> 01:10:36 [SPEAKER_05]: One.
01:10:36 --> 01:10:37 [SPEAKER_05]: Two.
01:10:37 --> 01:10:37 [SPEAKER_05]: One.
01:10:37 --> 01:10:37 [SPEAKER_05]: Two.
01:10:37 --> 01:10:37 [SPEAKER_05]: One.
01:10:37 --> 01:10:37 [SPEAKER_05]: Two.
01:10:37 --> 01:10:37 [SPEAKER_05]: One.
01:10:37 --> 01:10:37 [SPEAKER_05]: Two.
01:10:37 --> 01:10:38 [SPEAKER_05]: One.
01:10:38 --> 01:10:38 [SPEAKER_05]: Two.
01:10:38 --> 01:10:38 [SPEAKER_05]: One.
01:10:38 --> 01:10:38 [SPEAKER_05]: Two.
01:10:38 --> 01:10:38 [SPEAKER_05]: One.
01:10:38 --> 01:10:38 [SPEAKER_05]: Two.
01:10:39 --> 01:10:39 [SPEAKER_05]: One.
01:10:39 --> 01:10:39 [SPEAKER_05]: Two.
01:10:40 --> 01:10:41 [SPEAKER_05]: with like some triplets or something.
01:10:41 --> 01:10:42 [SPEAKER_00]: They just cut it.
01:10:42 --> 01:11:09 [SPEAKER_00]: So the normal groove goes bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump
01:11:10 --> 01:11:12 [UNKNOWN]: I love it.
01:11:12 --> 01:11:15 [UNKNOWN]: I've never heard this before.
01:11:15 --> 01:11:17 [UNKNOWN]: They just added it.
01:11:17 --> 01:11:19 [UNKNOWN]: Not otherwise, it's awesome.
01:11:30 --> 01:11:32 [SPEAKER_05]: Yeah, but it's not like low five.
01:11:32 --> 01:11:34 [SPEAKER_05]: I can work to that music.
01:11:34 --> 01:11:36 [SPEAKER_00]: Yeah, you probably wouldn't be able to kind of frenetic though.
01:11:36 --> 01:11:40 [SPEAKER_00]: So basically there's a sample and they just cut the sample different, right?
01:11:40 --> 01:11:41 [SPEAKER_00]: So they just did it all together.
01:11:41 --> 01:11:42 [SPEAKER_05]: Well, Mike, you're off the hook.
01:11:42 --> 01:11:43 [SPEAKER_05]: Yeah, what you're doing.
01:11:43 --> 01:11:44 [SPEAKER_00]: Yeah.
01:11:44 --> 01:11:45 [SPEAKER_00]: Thanks for coming to office hours, Mike.
01:11:46 --> 01:11:48 [SPEAKER_05]: No one ever comes to office hours.
01:11:48 --> 01:11:49 [SPEAKER_00]: No, but yes.
01:11:49 --> 01:11:50 [SPEAKER_05]: It's like the saddest time.
01:11:50 --> 01:11:52 [SPEAKER_05]: Oh, I'm talking about it.
01:11:52 --> 01:11:53 [SPEAKER_00]: I get so much done.
01:11:53 --> 01:11:54 [SPEAKER_00]: Catch up on email, right?
01:11:54 --> 01:11:55 [SPEAKER_05]: Yeah.
01:11:55 --> 01:12:05 [SPEAKER_05]: This is from Doug O. Tonight, I saw the new documentary about the zombies called hung up on a dream with a performance by the lead singer Colin Bluntstone.
01:12:06 --> 01:12:06 [SPEAKER_05]: Fun stuff.
01:12:06 --> 01:12:15 [SPEAKER_05]: And it made me think about the interesting stuff they did with song structure and chord changes, et cetera, would love to hear podcasts about one or more of their songs if there's interest.
01:12:15 --> 01:12:18 [SPEAKER_05]: I don't really know the zombies at all, so.
01:12:18 --> 01:12:18 [SPEAKER_00]: Time of the season.
01:12:19 --> 01:12:20 [SPEAKER_05]: If I heard it.
01:12:21 --> 01:12:26 [SPEAKER_00]: That's probably the most famous song I would think of.
01:12:26 --> 01:12:27 [SPEAKER_05]: I think you have like a metal band.
01:12:27 --> 01:12:28 [SPEAKER_05]: Is there?
01:12:29 --> 01:12:29 [SPEAKER_00]: No.
01:12:29 --> 01:12:30 [SPEAKER_00]: Just because the name.
01:12:30 --> 01:12:32 [SPEAKER_00]: The zombies is like a sort of a British invasion.
01:12:32 --> 01:12:34 [SPEAKER_00]: I think British invasion.
01:12:34 --> 01:12:34 [SPEAKER_00]: That's why.
01:12:34 --> 01:12:36 [SPEAKER_00]: You know, like, sixties or the seventies.
01:12:36 --> 01:12:38 [SPEAKER_05]: I'm just like putting them in like it out of some chains moment.
01:12:39 --> 01:12:40 [SPEAKER_00]: Yeah, no, it's not that.
01:12:40 --> 01:12:46 [SPEAKER_00]: Um, yeah, I know their hits, but I don't know them that well, I mean, fall, I have to follow my bliss to everybody.
01:12:47 --> 01:13:01 [SPEAKER_00]: So the full episodes come from me finding songs I like that when I hear them, there's something striking that is cool from a songwriting perspective that importantly, we haven't already really dwelled on like if we do.
01:13:02 --> 01:13:07 [SPEAKER_00]: You know, a couple of weeks ago, we did an episode about the meter changing in, I say, a little prayer.
01:13:07 --> 01:13:13 [SPEAKER_00]: We're not immediately gonna, I'm not gonna hear the next song with meter change and go, oh my God, I have to do another one.
01:13:13 --> 01:13:16 [SPEAKER_00]: We gotta wait, I've gotta find something we haven't talked about.
01:13:16 --> 01:13:19 [SPEAKER_00]: So I like the zombies, not opposed to it.
01:13:19 --> 01:13:22 [SPEAKER_00]: No plans to cover them now, but that doesn't mean we can't.
01:13:22 --> 01:13:29 [SPEAKER_05]: I like to do like a side track of copycat Beatles bands, like other British invasion bands.
01:13:30 --> 01:13:32 [SPEAKER_05]: that we're trying to like ride the way I'd be fighting words.
01:13:33 --> 01:13:35 [SPEAKER_00]: I don't know enough about the zombies to know if they count.
01:13:35 --> 01:13:37 [SPEAKER_05]: I don't know, but that's there's there's something there.
01:13:37 --> 01:13:45 [SPEAKER_00]: There's a lot of, you know, even when you think of like bad finger in these bands that Paul McCartney was writing songs for, yeah, there's a whole, there's a whole invasion.
01:13:45 --> 01:13:46 [SPEAKER_05]: They even like the monkeys that are like a satirical jadels American.
01:13:47 --> 01:13:47 [SPEAKER_05]: Yeah.
01:13:47 --> 01:13:47 [SPEAKER_05]: I think there's something there.
01:13:47 --> 01:13:48 [SPEAKER_05]: I don't know.
01:13:48 --> 01:13:48 [SPEAKER_00]: I don't know.
01:13:48 --> 01:13:48 [SPEAKER_00]: I don't know.
01:13:48 --> 01:13:48 [SPEAKER_00]: I don't know.
01:13:49 --> 01:13:49 [SPEAKER_00]: I don't know.
01:13:49 --> 01:13:49 [SPEAKER_00]: I don't know.
01:13:49 --> 01:13:50 [SPEAKER_00]: I don't know.
01:13:50 --> 01:13:50 [SPEAKER_00]: I don't know.
01:13:50 --> 01:13:50 [SPEAKER_00]: I don't know.
01:13:50 --> 01:13:50 [SPEAKER_05]: I don't know.
01:13:50 --> 01:13:51 [SPEAKER_05]: I don't know.
01:13:51 --> 01:13:51 [SPEAKER_05]: I don't know.
01:13:51 --> 01:13:52 [SPEAKER_05]: I don't know.
01:13:52 --> 01:13:52 [SPEAKER_00]: I don't know.
01:13:52 --> 01:13:52 [SPEAKER_00]: I don't know.
01:13:52 --> 01:13:52 [SPEAKER_05]: I don't know.
01:13:52 --> 01:13:53 [SPEAKER_05]: I don't know.
01:13:53 --> 01:13:53 [SPEAKER_05]: I don't know.
01:13:53 --> 01:13:53 [SPEAKER_05]: I don't know.
01:13:53 --> 01:13:54 [SPEAKER_00]: I don't know.
01:13:54 --> 01:13:54 [SPEAKER_00]: I don't know.
01:13:54 --> 01:13:54 [SPEAKER_05]: I don't know.
01:13:54 --> 01:13:54 [UNKNOWN]: I
01:13:55 --> 01:13:57 [SPEAKER_00]: I got the next one from David Lorhound, one of the other.
01:13:57 --> 01:14:05 [SPEAKER_00]: It's so funny that the last name is Lorhound and that's like how they've been John both have the same last name.
01:14:05 --> 01:14:06 [SPEAKER_00]: Well, we should have his own last name.
01:14:06 --> 01:14:06 [SPEAKER_00]: Yeah.
01:14:07 --> 01:14:08 [SPEAKER_00]: So, hey, oh.
01:14:09 --> 01:14:11 [SPEAKER_00]: That's kind of antagonistic David Jesus.
01:14:11 --> 01:14:12 [SPEAKER_00]: Okay.
01:14:12 --> 01:14:14 [SPEAKER_00]: Just finished the barrier friend episode.
01:14:14 --> 01:14:19 [SPEAKER_00]: I appreciate that he did not capitalize the title because the song does not have any capitals.
01:14:19 --> 01:14:19 [SPEAKER_00]: He knows.
01:14:20 --> 01:14:25 [SPEAKER_00]: And wanted a chime in to say that this song was used as the opening credit music for season four of True Detective.
01:14:26 --> 01:14:27 [SPEAKER_05]: He loves True Detective.
01:14:27 --> 01:14:32 [SPEAKER_00]: That's the season that was said in Alaska written and directed by Isolopez and starring Jodi Foster.
01:14:33 --> 01:14:37 [SPEAKER_00]: I'm going to interrupt you David, when I saw this and you're not the only one to point this out.
01:14:37 --> 01:14:41 [SPEAKER_00]: I was like, oh my god, not only did I watch that show, not only did I really like it.
01:14:42 --> 01:14:44 [SPEAKER_00]: I listened to Laura Hound's coverage.
01:14:44 --> 01:14:45 [SPEAKER_00]: I don't did I write in.
01:14:45 --> 01:14:48 [SPEAKER_00]: We were recording this podcast at the time.
01:14:49 --> 01:14:50 [SPEAKER_00]: No, maybe we were doing it.
01:14:50 --> 01:14:50 [SPEAKER_00]: I don't know.
01:14:51 --> 01:15:01 [SPEAKER_00]: By the time we recorded the barrier friend episode, I had completely forgotten that it was the literal main title theme from that show, which is wild because
01:15:02 --> 01:15:03 [SPEAKER_00]: Yeah, it's a great show.
01:15:03 --> 01:15:04 [SPEAKER_00]: I like that season too.
01:15:04 --> 01:15:08 [SPEAKER_00]: He says he goes on John and I covered the season back in twenty twenty four to mixed reviews.
01:15:09 --> 01:15:12 [SPEAKER_00]: I really enjoyed it, but I think the way the story was brought to a close left John in the cold.
01:15:12 --> 01:15:13 [SPEAKER_00]: Uh-huh.
01:15:13 --> 01:15:15 [SPEAKER_05]: Because it was in Alaska.
01:15:15 --> 01:15:16 [SPEAKER_00]: So anyway.
01:15:17 --> 01:15:19 [SPEAKER_00]: I thought that the use of the song was perfect for the TV show.
01:15:19 --> 01:15:26 [SPEAKER_00]: It helped set a narrative tone for the season that creepy feeling when you think you're being watched or you catch something odd out of the corner of your eye.
01:15:26 --> 01:15:35 [SPEAKER_00]: The season also takes place just as the long night is setting in the Arctic, which dovetails nicely with the idea of sleep, sleep paralysis, and bad dream nightmares.
01:15:36 --> 01:15:41 [SPEAKER_00]: I don't know a lot about Billie Eilish, and I've not gotten into her music, so I don't want to comment about her career, etc.
01:15:41 --> 01:15:44 [SPEAKER_00]: But like Nicole said, I hope she's around a long time and has a long career.
01:15:45 --> 01:15:49 [SPEAKER_00]: In terms of using that song as a piece of opening credit music, I thought it was a brilliant choice.
01:15:49 --> 01:15:56 [SPEAKER_00]: Apparently, he's the Lopez has stated that she listened to a lot of Billie Eilish while she was riding the season, and specifically chose that song herself.
01:15:57 --> 01:16:03 [SPEAKER_00]: One day, we will talk about the use of contemporary music as thematic background and diagetic elements.
01:16:03 --> 01:16:04 [SPEAKER_00]: What?
01:16:04 --> 01:16:05 [SPEAKER_00]: I don't even know what that means.
01:16:05 --> 01:16:06 [SPEAKER_05]: What does diagetic mean?
01:16:06 --> 01:16:07 [SPEAKER_00]: Diagetic means.
01:16:08 --> 01:16:11 [SPEAKER_00]: music that exists in the world of the show.
01:16:11 --> 01:16:12 [SPEAKER_00]: Okay.
01:16:12 --> 01:16:12 [SPEAKER_00]: Cool.
01:16:12 --> 01:16:19 [SPEAKER_00]: So if someone's listening on a radio that is or playing music on a guitar, that is diagetic, as opposed to soundtrack that is.
01:16:19 --> 01:16:19 [SPEAKER_05]: Great.
01:16:19 --> 01:16:20 [SPEAKER_00]: Piped in.
01:16:20 --> 01:16:21 [SPEAKER_05]: I'm interested.
01:16:21 --> 01:16:23 [SPEAKER_00]: But that is a bit of a bigger topic.
01:16:23 --> 01:16:27 [SPEAKER_00]: So I used to say the song plus show pairing should be on that list to discuss.
01:16:27 --> 01:16:28 [SPEAKER_00]: Thank you.
01:16:28 --> 01:16:32 [SPEAKER_00]: There's not much else to say except my bad for not mentioning that despite knowing that.
01:16:32 --> 01:16:34 [SPEAKER_00]: You love it.
01:16:34 --> 01:16:36 [SPEAKER_00]: Yeah, that would be a fun conversation.
01:16:36 --> 01:16:36 [SPEAKER_00]: Yes, David is.
01:16:37 --> 01:16:39 [SPEAKER_00]: He's in top five Davies in the world.
01:16:39 --> 01:16:41 [SPEAKER_06]: I love that vocabulary.
01:16:42 --> 01:16:44 [SPEAKER_06]: No, it's a really, I love that vocabulary too.
01:16:44 --> 01:16:45 [SPEAKER_06]: Dietetic music.
01:16:45 --> 01:16:46 [SPEAKER_00]: Dietetic music.
01:16:46 --> 01:16:48 [SPEAKER_00]: And as opposed to non-diagetic.
01:16:48 --> 01:16:52 [SPEAKER_00]: I love how they came up with this really awesome word to mean music in the world.
01:16:53 --> 01:16:56 [SPEAKER_00]: And then they, when they went, well, what should we call the opposite?
01:16:56 --> 01:16:57 [SPEAKER_00]: Should we come up with a word they went?
01:16:57 --> 01:16:59 [SPEAKER_00]: Non-diagetic.
01:16:59 --> 01:17:00 [SPEAKER_05]: The fiction non-fiction of this game.
01:17:01 --> 01:17:01 [SPEAKER_00]: That's right.
01:17:01 --> 01:17:02 [SPEAKER_00]: It's the same.
01:17:02 --> 01:17:03 [SPEAKER_05]: Awesome.
01:17:03 --> 01:17:04 [SPEAKER_05]: Great feedback.
01:17:04 --> 01:17:04 [SPEAKER_05]: Thank you.
01:17:18 --> 01:17:27 [SPEAKER_05]: Here's a discord comment from two kids, two dogs, saying when I was in grade school, a music program was introduced, we all did testing with the teacher and I was assigned a French horn.
01:17:28 --> 01:17:29 [SPEAKER_05]: I was horrified.
01:17:30 --> 01:17:31 [SPEAKER_05]: What the heck is this beast?
01:17:32 --> 01:17:40 [SPEAKER_05]: After a long walk home that had me dragging this monstrosity through the snow, I complained to ask for the flute and I was much happier.
01:17:40 --> 01:17:41 [SPEAKER_05]: It fit in my bag.
01:17:41 --> 01:17:42 [SPEAKER_05]: Nice and small.
01:17:42 --> 01:17:45 [SPEAKER_05]: Perhaps without knowing, I saw the French horn as a male instrument.
01:17:46 --> 01:17:49 [SPEAKER_05]: in addition to it being huge and unwieldly.
01:17:50 --> 01:17:53 [SPEAKER_05]: Finally, your episode was about unusual instruments.
01:17:53 --> 01:17:56 [SPEAKER_05]: I read an autobiography of George Martin.
01:17:57 --> 01:18:02 [SPEAKER_05]: John Lennon would often come to him asking for specific sounds and then George would figure out how to make that happen.
01:18:03 --> 01:18:14 [SPEAKER_05]: Who generally makes the decision about the adding these sounds or instruments, the artists, the producer, and then also, yes, I'd love to hear more analysis of Kate Bush's music.
01:18:14 --> 01:18:15 [SPEAKER_05]: She was so different and so lyrical.
01:18:16 --> 01:18:17 [SPEAKER_05]: So lots to cover here.
01:18:17 --> 01:18:20 [SPEAKER_05]: I will say, I just took my daughter.
01:18:20 --> 01:18:25 [SPEAKER_05]: She's entering middle school, band is on the table, and our school district was just awesome.
01:18:25 --> 01:18:28 [SPEAKER_05]: And they had an instrument petting zoo, they called it.
01:18:28 --> 01:18:31 [SPEAKER_05]: So you could go and try every instrument.
01:18:31 --> 01:18:31 [SPEAKER_00]: It was awesome.
01:18:32 --> 01:18:37 [SPEAKER_05]: And two of every instrument, there was tuba, like flute, like the classics.
01:18:38 --> 01:18:40 [SPEAKER_05]: They had an oba and a French horn there.
01:18:40 --> 01:18:49 [SPEAKER_05]: And I remember on the sheet, it said, if you want to play over a French horn, we recommend additional lessons on top of what we can teach you in school.
01:18:49 --> 01:18:51 [SPEAKER_05]: It seems like a weird starter instrument.
01:18:52 --> 01:18:53 [SPEAKER_00]: Yeah, they're great.
01:18:53 --> 01:19:00 [SPEAKER_00]: When I had my one semester of fourth grade clarinet for some reason, that was I'd played it for one part of fourth grade in the school band.
01:19:00 --> 01:19:07 [SPEAKER_00]: There was a girl with a French horn and it was like, for me, it's also just those instruments are more expensive to rent.
01:19:07 --> 01:19:08 [SPEAKER_00]: So it is wild.
01:19:09 --> 01:19:17 [SPEAKER_00]: when someone chooses as a kid to play one of those, you know, unless it's because, you know, your mom has one and you just put it up and play.
01:19:17 --> 01:19:21 [SPEAKER_00]: Yeah, extra lessons for Obo and French horn, I believe it.
01:19:21 --> 01:19:24 [SPEAKER_05]: And they did this real cool thing that it was like ranked choice.
01:19:25 --> 01:19:32 [SPEAKER_05]: Like they would assess her, like she scored high on the saxophone for her aptitude and she ranked saxone as her first choice.
01:19:32 --> 01:19:35 [SPEAKER_05]: So like she got saxophone, but she also
01:19:36 --> 01:19:40 [SPEAKER_05]: like, trombone, but couldn't play trombone because her arms aren't long enough.
01:19:40 --> 01:19:42 [SPEAKER_05]: So she scored low on trombone.
01:19:42 --> 01:19:43 [SPEAKER_05]: So they, it was just interesting.
01:19:43 --> 01:19:54 [SPEAKER_00]: They like, so thoughtfully, but like, if her favorite was trombone and she couldn't play it, but her least favorite was Sachs, but she was really good at it.
01:19:54 --> 01:19:57 [SPEAKER_00]: But then for Clarenet, she was like, fifty, fifty.
01:19:57 --> 01:19:58 [SPEAKER_00]: They'd been a sign of Clarenet.
01:19:59 --> 01:19:59 [SPEAKER_00]: Like, like, points.
01:19:59 --> 01:20:01 [SPEAKER_00]: That was her second choice and she's second best at it.
01:20:02 --> 01:20:05 [SPEAKER_05]: And then they would also see, you can only have so many flutes, right?
01:20:05 --> 01:20:07 [SPEAKER_05]: You can only, so many French horns.
01:20:07 --> 01:20:09 [SPEAKER_05]: So, how many of that attitude?
01:20:09 --> 01:20:09 [SPEAKER_00]: No.
01:20:11 --> 01:20:17 [SPEAKER_05]: So then they like overlayed this like rank choice voting versus aptitude on top of how many kids we have.
01:20:17 --> 01:20:20 [SPEAKER_00]: Like they really need somebody to play the elbow.
01:20:20 --> 01:20:20 [SPEAKER_05]: Yeah.
01:20:20 --> 01:20:24 [SPEAKER_05]: I mean, I think like the fifty kids, like one kid's playing the elbow.
01:20:24 --> 01:20:24 [SPEAKER_00]: Right.
01:20:24 --> 01:20:25 [SPEAKER_00]: Yeah.
01:20:25 --> 01:20:27 [SPEAKER_05]: But that's, it's a good one.
01:20:27 --> 01:20:27 [SPEAKER_05]: I guess.
01:20:28 --> 01:20:28 [SPEAKER_00]: That's what I mean.
01:20:29 --> 01:20:30 [SPEAKER_05]: So, a lot to think about.
01:20:31 --> 01:20:34 [SPEAKER_00]: I feel you're paying about the French horn, not viscerally.
01:20:34 --> 01:20:36 [SPEAKER_00]: I mean, I would drag my guitar and amp to her.
01:20:36 --> 01:20:38 [SPEAKER_00]: Her soul's when I was in high school.
01:20:38 --> 01:20:44 [SPEAKER_00]: That was brutal, but just pour one out for the sousafone player and the tuba and double bass player.
01:20:44 --> 01:20:48 [SPEAKER_05]: Like, if you have the tuba set on the form, like, you use the school's tuba.
01:20:48 --> 01:20:49 [SPEAKER_05]: I have to even try to bring it up.
01:20:49 --> 01:20:52 [SPEAKER_00]: You have to join the high school weight training program otherwise.
01:20:52 --> 01:20:53 [SPEAKER_00]: Yeah.
01:20:53 --> 01:20:58 [SPEAKER_05]: I said the cast, they like picked like this little girl's a play that too, but like she's teaming.
01:20:58 --> 01:21:03 [SPEAKER_05]: I love that the anti-gender piece here is a really interesting one because they are for sure.
01:21:03 --> 01:21:05 [SPEAKER_05]: Like you could see it at this petting zoo.
01:21:05 --> 01:21:07 [SPEAKER_05]: Like it was very coded.
01:21:07 --> 01:21:09 [SPEAKER_05]: And first one, I didn't.
01:21:09 --> 01:21:14 [SPEAKER_00]: That one doesn't code mail necessarily me except that all brass kind of do.
01:21:14 --> 01:21:14 [SPEAKER_00]: Kind of yeah.
01:21:15 --> 01:21:15 [SPEAKER_00]: The horns, the loud ones.
01:21:15 --> 01:21:16 [SPEAKER_00]: So
01:21:17 --> 01:21:24 [SPEAKER_00]: Any thoughts on the George Martin thing and who does what in the Beatles, George Martin being, of course, the longtime producer of most of the Beatles records?
01:21:24 --> 01:21:42 [SPEAKER_05]: I think it depends on, I don't know, you obviously can speak to this more than me, but I feel like it must be a collaboration, or if it defaults to anyone, I think it should default to the band saying we want this type of sound and then producer sources the sound, but I'm sure that that's not how it always happens.
01:21:42 --> 01:21:43 [SPEAKER_00]: It totally depends.
01:21:43 --> 01:21:43 [SPEAKER_05]: Yeah.
01:21:45 --> 01:21:49 [SPEAKER_00]: It depends on who the artist is, fundamentally, and it depends on who the producer is.
01:21:49 --> 01:22:04 [SPEAKER_00]: So if you're talking about when you're talking about what happened with the Beatles studios, you're not just talking about, oh, who decided to add strings to Eleanor Rigby, which probably was a conversation between George Martin and Paul McCartney, and then George Martin wrote the string arrangements.
01:22:05 --> 01:22:12 [SPEAKER_00]: So George Martin had a massive role in that song because he wrote the string octet part, Paul wrote the melody in the lyrics basically.
01:22:13 --> 01:22:20 [SPEAKER_00]: But also what was happening at Abbey Road and with their whole operation, there was the inventing of new studio techniques.
01:22:21 --> 01:22:30 [SPEAKER_00]: So automatic double tracking, if you listen to a lot of Beatles music also contemporary pop, a lot of times there are two lead vocalists singing at the same time.
01:22:30 --> 01:22:33 [SPEAKER_00]: You record yourself twice to make it fuller and more rich sounding.
01:22:34 --> 01:22:36 [SPEAKER_00]: And the Beatles did this and you hear it in all their old albums.
01:22:36 --> 01:22:40 [SPEAKER_00]: And then what they tried to figure out is a way to have it happen automatically.
01:22:41 --> 01:22:43 [SPEAKER_00]: And you would record the lead vocal.
01:22:43 --> 01:22:49 [SPEAKER_00]: I think John Lennon in particular liked this with two slightly out of time record players at the same time.
01:22:49 --> 01:22:57 [SPEAKER_00]: So they would record him once and get an identical performance that was slightly at a phase with the other performance, which would create this warm
01:22:58 --> 01:22:58 [SPEAKER_00]: thing.
01:22:58 --> 01:23:00 [SPEAKER_00]: And that's this warm overall effect.
01:23:00 --> 01:23:05 [SPEAKER_00]: You can hear it a lot sort of after revolver, I think might be the first point they start using it.
01:23:06 --> 01:23:10 [SPEAKER_00]: And it's this very, you know, classic sound from some of their records.
01:23:10 --> 01:23:12 [SPEAKER_00]: And it was invented in the studio.
01:23:12 --> 01:23:13 [SPEAKER_00]: They tasked.
01:23:13 --> 01:23:15 [SPEAKER_00]: Is it Jeff Emmerick?
01:23:15 --> 01:23:16 [SPEAKER_00]: I'll look it up later.
01:23:16 --> 01:23:17 [SPEAKER_00]: Nope.
01:23:17 --> 01:23:20 [SPEAKER_00]: Jeff did a lot of the Beatles stuff, but this was actually Ken Townsend.
01:23:21 --> 01:23:28 [SPEAKER_00]: Also, I heard myself say they used to out of time record players a minute ago.
01:23:28 --> 01:23:29 [SPEAKER_00]: Tape decks.
01:23:29 --> 01:23:30 [SPEAKER_00]: Definitely not record players.
01:23:31 --> 01:23:34 [SPEAKER_00]: They tasked the audio engineer.
01:23:34 --> 01:23:37 [SPEAKER_00]: We need you to figure out how to work the electric's here.
01:23:38 --> 01:23:40 [SPEAKER_00]: And so very much a collaboration.
01:23:41 --> 01:23:47 [SPEAKER_00]: But I think most of the time, they're not literally inventing things in this studio with music recording.
01:23:48 --> 01:23:54 [SPEAKER_00]: But maybe a producer is there to guide the recording process and offer suggestions to the vocal performances.
01:23:55 --> 01:23:58 [SPEAKER_00]: Maybe the producer is playing based on the album.
01:23:58 --> 01:24:00 [SPEAKER_00]: Maybe the producer is arranging all the vocal harmonies.
01:24:00 --> 01:24:05 [SPEAKER_00]: And the band is just playing what the artist is just doing, what they play live.
01:24:05 --> 01:24:07 [SPEAKER_00]: And then the producer is staying up late at night adding all the string orchestra.
01:24:08 --> 01:24:16 [SPEAKER_00]: Maybe the producer wrote the entire backing track and the artist is just coming up with lyrics and singing or rapping on top of it.
01:24:16 --> 01:24:28 [SPEAKER_00]: There's a massive range and it can go anywhere from artist does tons of the work or there's a songwriter or songwriting team doing a lot of it or the producer does a lot of it or the engineer is inventing things or
01:24:29 --> 01:24:33 [SPEAKER_00]: there could even be depending on the kind of production in a range or you hire.
01:24:33 --> 01:24:37 [SPEAKER_00]: I'm we're hiring somebody to write out the orchestra part to play along with this pop song.
01:24:37 --> 01:24:45 [SPEAKER_05]: Now what happens in a band like your band's like a dynamics that you're an artist, but you're also the producer.
01:24:45 --> 01:24:46 [SPEAKER_00]: I'm doing a lot then, aren't I?
01:24:46 --> 01:24:47 [SPEAKER_00]: Right.
01:24:47 --> 01:24:56 [SPEAKER_00]: So I have a specific role in the band also that, so I write songs I sing, I play guitar, but I also am pretty much the arranger.
01:24:57 --> 01:25:00 [SPEAKER_00]: So in addition to producing the album, like I wrote out the horn charts.
01:25:01 --> 01:25:10 [SPEAKER_00]: So like with a few exceptions, you know, there might be a melody that's happening, but we have to figure out exactly what the two trumpets are doing and what the saxophone is doing and what what are their exact parts.
01:25:10 --> 01:25:11 [SPEAKER_00]: We're not improvising all that.
01:25:12 --> 01:25:15 [SPEAKER_00]: You can't do because we don't have just like sure when they're soloing, they're soloing, but
01:25:16 --> 01:25:21 [SPEAKER_00]: When you have like a dead or dead, when they're all playing together, you have to choose which guy's playing which part.
01:25:21 --> 01:25:22 [SPEAKER_00]: Right, of course.
01:25:22 --> 01:25:22 [SPEAKER_00]: That's me.
01:25:24 --> 01:25:32 [SPEAKER_00]: And sometimes all go as far as riding a baseline and then Brian or base player will either play it or more likely mess it up and make it better because he's a real basis.
01:25:32 --> 01:25:39 [SPEAKER_00]: I was like, I'm dare you to come up with the arrangement frame and then those guys will do what they do to it.
01:25:40 --> 01:25:53 [SPEAKER_00]: And then we were recording, we also, some of it has happened in the studio, but meeting the producer gives me like a double dip of influence, but honestly, so much of it is arranged before we even got to recording of it anyway.
01:25:53 --> 01:26:06 [SPEAKER_05]: It sounds like there's so much trust and respect in that relationship that it's no surprise that sometimes you hear a bottle of drama between bands and producers, because that trust in that foundation isn't there.
01:26:06 --> 01:26:09 [SPEAKER_05]: There can be a lot of resentment that builds up, I'm sure.
01:26:10 --> 01:26:17 [SPEAKER_00]: I mean, I have that this album isn't done yet, but I had real fear because I didn't write every song on the album.
01:26:17 --> 01:26:23 [SPEAKER_00]: I wrote eleven of the songs and there's this one tune one of our other members wrote that I added stuff.
01:26:23 --> 01:26:24 [SPEAKER_00]: We recorded it.
01:26:24 --> 01:26:29 [SPEAKER_00]: We recorded the drums in the bass and guitar in the horns and then I added extra stuff like I have all these
01:26:30 --> 01:26:32 [SPEAKER_00]: Queen rip off little guitar leads happening.
01:26:32 --> 01:26:33 [SPEAKER_00]: Brian may rip off things I added.
01:26:34 --> 01:26:35 [SPEAKER_00]: We do not do that stuff live live.
01:26:35 --> 01:26:38 [SPEAKER_00]: I'm just jamming while the sex and trumpet player solos and stuff.
01:26:38 --> 01:26:40 [SPEAKER_00]: But I added all the stuff that I thought worked.
01:26:41 --> 01:26:47 [SPEAKER_00]: And I was legitimately nervous that when the guy who wrote the song heard it, that he'd be like annoyed and he's like, cool.
01:26:47 --> 01:26:48 [SPEAKER_00]: Love the guitar.
01:26:48 --> 01:26:49 [SPEAKER_00]: I'm like, oh my god.
01:26:49 --> 01:26:50 [SPEAKER_00]: Thank God.
01:26:50 --> 01:26:52 [SPEAKER_00]: Because it could be for.
01:26:52 --> 01:26:53 [SPEAKER_00]: Give me that tension.
01:26:53 --> 01:26:53 [SPEAKER_00]: Yeah.
01:26:53 --> 01:26:58 [SPEAKER_00]: I heard in my head where I thought this could be, that is different from what it is live, that what it would be in the studio.
01:26:59 --> 01:27:05 [SPEAKER_00]: And that was a risk and I was ready to probably delete all that stuff if he didn't like it because it's his song, right?
01:27:05 --> 01:27:10 [SPEAKER_05]: Well, we think of music to speak and having such big egos, but it seems like for it to be a thoughtful process.
01:27:10 --> 01:27:11 [SPEAKER_05]: You can't have a big ego.
01:27:11 --> 01:27:14 [SPEAKER_05]: You need to be open to feedback and resilient.
01:27:14 --> 01:27:16 [SPEAKER_00]: I think I think you should, but I think there's conflict.
01:27:16 --> 01:27:17 [SPEAKER_05]: Well, yeah.
01:27:17 --> 01:27:23 [SPEAKER_05]: I mean, that's why it adds context to why you hear about so much conflict and why people stick with producing teams for so long.
01:27:24 --> 01:27:25 [SPEAKER_00]: Um, totally awesome.
01:27:25 --> 01:27:25 [SPEAKER_05]: Awesome.
01:27:26 --> 01:27:27 [SPEAKER_00]: Oh, and Capus is cool.
01:27:27 --> 01:27:28 [SPEAKER_00]: We'll be talking about it.
01:27:28 --> 01:27:28 [SPEAKER_00]: I don't know.
01:27:29 --> 01:27:29 [SPEAKER_00]: Maybe.
01:27:29 --> 01:27:29 [SPEAKER_00]: I hope so.
01:27:29 --> 01:27:31 [SPEAKER_05]: Well, the the next comment.
01:27:31 --> 01:27:33 [SPEAKER_05]: I'm finding some connection to whoo.
01:27:33 --> 01:27:34 [SPEAKER_05]: So.
01:27:35 --> 01:27:35 [SPEAKER_05]: Yeah.
01:27:36 --> 01:27:37 [SPEAKER_00]: I just listened to episode twenty two.
01:27:37 --> 01:27:38 [SPEAKER_00]: The Grammys side track.
01:27:39 --> 01:27:46 [SPEAKER_00]: Y'all were talking about Taylor Swift, and when Mark mentioned Florida featuring Florence Welch, Nicole's reaction may be wonder.
01:27:46 --> 01:27:48 [SPEAKER_00]: One, are y'all fans of Florence and the machine?
01:27:49 --> 01:27:52 [SPEAKER_00]: Or just really like that song.
01:27:52 --> 01:27:55 [SPEAKER_00]: And two, would you all ever do a Florence and the machine episode?
01:27:55 --> 01:28:01 [SPEAKER_00]: They've got such an interesting discography that I feel like there's something worth an episode in really any of their albums.
01:28:02 --> 01:28:04 [SPEAKER_00]: And I'd love to hear y'all's music and psychology takes.
01:28:05 --> 01:28:05 [SPEAKER_00]: We'll pause there.
01:28:05 --> 01:28:07 [SPEAKER_00]: There's a couple more, but comments on Florence.
01:28:07 --> 01:28:08 [SPEAKER_05]: Yes.
01:28:08 --> 01:28:09 [SPEAKER_00]: I would love to.
01:28:09 --> 01:28:12 [SPEAKER_00]: Again, haven't heard a song gone.
01:28:12 --> 01:28:14 [SPEAKER_00]: That's the episode we're doing, but I would love to.
01:28:14 --> 01:28:15 [SPEAKER_00]: I like Florence and the machine.
01:28:15 --> 01:28:19 [SPEAKER_00]: I only really know the one album lungs very well, but it's great.
01:28:20 --> 01:28:23 [SPEAKER_00]: And I'm super, anybody in time, they've got a folk harp in a band on down.
01:28:24 --> 01:28:29 [SPEAKER_05]: And like, I haven't been to see them live yet.
01:28:29 --> 01:28:33 [SPEAKER_05]: And I really want to because everyone I know that's been to a Florence and the machine show says it's like church.
01:28:33 --> 01:28:35 [SPEAKER_05]: It's like a religious experience.
01:28:35 --> 01:28:36 [SPEAKER_05]: And I want that.
01:28:36 --> 01:28:37 [SPEAKER_05]: I love strong women.
01:28:38 --> 01:28:39 [SPEAKER_00]: She's great.
01:28:39 --> 01:28:40 [SPEAKER_00]: She's great.
01:28:40 --> 01:28:43 [SPEAKER_00]: And also the band is really interesting sounds.
01:28:43 --> 01:28:44 [SPEAKER_05]: Yeah.
01:28:44 --> 01:28:45 [SPEAKER_05]: It's great.
01:28:45 --> 01:28:45 [SPEAKER_00]: So we'll see.
01:28:46 --> 01:28:47 [SPEAKER_00]: I'm never say never.
01:28:48 --> 01:28:48 [SPEAKER_00]: I hope to one day.
01:28:49 --> 01:28:58 [SPEAKER_00]: Celides goes on listening to the grenade by Bruno Mars episode and hearing Nicole talk about healthy codependency with her husband has me fighting off tears at work.
01:28:58 --> 01:29:00 [SPEAKER_00]: We shouldn't make her husband listen to it at work and see if he cries.
01:29:01 --> 01:29:09 [SPEAKER_00]: Her description is a fantastic example and was enlightening to me because I classified codependency as marked it inherently unhealthy.
01:29:10 --> 01:29:16 [SPEAKER_00]: But it's so obvious now that as a social species it's beneficial to rely on others in a healthy way of course.
01:29:16 --> 01:29:25 [SPEAKER_05]: Yeah, I want to, I mean, I appreciate that as a compliment, but I do need to say the idea of co-dependency in mental health.
01:29:25 --> 01:29:33 [SPEAKER_05]: Like if you look at the diagnostic criteria for like a co-dependent anything, it is going to quantify us unhealthy.
01:29:34 --> 01:29:38 [SPEAKER_05]: But I do my statement is that there is healthy co-dependency.
01:29:38 --> 01:29:42 [SPEAKER_05]: And I think that we do need like you and I are co-dependent on each other for this podcast.
01:29:42 --> 01:29:45 [SPEAKER_05]: subclinical codependency.
01:29:45 --> 01:29:45 [SPEAKER_05]: Way to go.
01:29:45 --> 01:29:48 [SPEAKER_05]: Yeah, that's a great vocab to pull out.
01:29:48 --> 01:29:50 [SPEAKER_05]: It makes you sound smart when you say stuff like that.
01:29:50 --> 01:29:50 [SPEAKER_05]: But thanks.
01:29:50 --> 01:29:51 [SPEAKER_05]: That's a really nice comment.
01:29:52 --> 01:30:01 [SPEAKER_05]: And even listening back to that episode, I was so, so, so self-indulgent to say, but I was really touched by my comments too.
01:30:01 --> 01:30:02 [SPEAKER_05]: Oh, yeah.
01:30:02 --> 01:30:07 [SPEAKER_05]: I was kind of mad at my husband for leaving dirty socks around the house or whatever that day.
01:30:07 --> 01:30:09 [SPEAKER_05]: And then I like listened to that episode and I was like, oh, right.
01:30:10 --> 01:30:13 [SPEAKER_05]: Like, there's more to all this than just that.
01:30:13 --> 01:30:16 [SPEAKER_05]: And it was nice reminder to me to hear my own words.
01:30:16 --> 01:30:18 [SPEAKER_00]: And then you picked up and smelled the dirty sauce.
01:30:18 --> 01:30:20 [SPEAKER_05]: No, no, no, that's too much.
01:30:20 --> 01:30:21 [SPEAKER_00]: I felt closer to him than ever.
01:30:21 --> 01:30:22 [SPEAKER_00]: No, no, no.
01:30:22 --> 01:30:23 [SPEAKER_05]: It's the metaphor, but
01:30:24 --> 01:30:26 [SPEAKER_00]: Right.
01:30:26 --> 01:30:27 [SPEAKER_00]: Two more and we've got a good one.
01:30:27 --> 01:30:28 [SPEAKER_00]: You're going to take it.
01:30:28 --> 01:30:29 [SPEAKER_05]: Okay.
01:30:30 --> 01:30:32 [SPEAKER_05]: From Rose Kay, what is a weasor?
01:30:33 --> 01:30:34 [SPEAKER_05]: Talk about Neil Diamond.
01:30:35 --> 01:30:37 [SPEAKER_05]: This is actually from my mom.
01:30:37 --> 01:30:42 [SPEAKER_05]: She's figured out how to listen to the podcast, which has not been great for me.
01:30:42 --> 01:30:44 [SPEAKER_05]: Because now I'm getting text like this.
01:30:44 --> 01:30:45 [SPEAKER_05]: What is a weasor?
01:30:45 --> 01:30:46 [SPEAKER_05]: I should explain to her.
01:30:47 --> 01:30:51 [SPEAKER_05]: She wasn't happy to hear about me breaking into the Boston Garden with a butter knife.
01:30:51 --> 01:30:52 [SPEAKER_05]: She didn't know anything about that.
01:30:53 --> 01:31:04 [SPEAKER_05]: You know, and now I'm kind of having to explain a lot that I had no intention to explain to my mom, but shout out Rose, she's thriving, and she's like the best mom in the whole wide world.
01:31:04 --> 01:31:05 [SPEAKER_05]: I don't care what you say.
01:31:05 --> 01:31:06 [SPEAKER_05]: My mom's better than yours.
01:31:07 --> 01:31:08 [SPEAKER_05]: Thanks for the feedback.
01:31:09 --> 01:31:10 [SPEAKER_00]: Are we going to talk about Neil Diamond though?
01:31:10 --> 01:31:12 [SPEAKER_05]: I don't even know.
01:31:12 --> 01:31:12 [SPEAKER_05]: I don't know.
01:31:12 --> 01:31:14 [SPEAKER_05]: I like the idea of Neil Diamond.
01:31:15 --> 01:31:19 [SPEAKER_05]: My mom's been taking social control over her local senior center.
01:31:21 --> 01:31:27 [SPEAKER_05]: She walked in one day to get a tour after she retired and there were some women playing Majogna gave her a quote, The Side Eye.
01:31:28 --> 01:31:35 [SPEAKER_05]: And then she went home and learned how to play Majon so she could go and beat them or something.
01:31:35 --> 01:31:44 [SPEAKER_05]: It was as weird quest she was on and she was like, I'm going to take control over the senior center and she since has and now she's the event director for the senior center.
01:31:46 --> 01:31:53 [SPEAKER_05]: And they're taking bus tours to see not Neil Diamond, but people that are enough like Neil Diamond that in her words, quote, the old ladies don't know the difference.
01:31:54 --> 01:31:55 [SPEAKER_00]: Oh, man.
01:31:55 --> 01:31:55 [SPEAKER_05]: Great.
01:31:56 --> 01:32:00 [SPEAKER_05]: So she's really interesting Neil Diamond right now, but more like impersonators of Neil Diamond.
01:32:01 --> 01:32:05 [SPEAKER_05]: And that's what I'd like to talk about, is impersonators.
01:32:06 --> 01:32:08 [SPEAKER_00]: Why do people love Mazan so much?
01:32:08 --> 01:32:09 [SPEAKER_00]: My mom plays a lot of Mazan.
01:32:10 --> 01:32:11 [SPEAKER_00]: Mazan seems like a fun game.
01:32:11 --> 01:32:18 [SPEAKER_00]: She taught my kids to play, but why is it something that has become popular with Baby Boomer women in the last decade?
01:32:18 --> 01:32:20 [SPEAKER_05]: Because it's really complex.
01:32:20 --> 01:32:24 [SPEAKER_05]: And it's like how like seducous and cross repulsals help ward off dementia.
01:32:24 --> 01:32:27 [SPEAKER_05]: I think like someone got worried that Mazan might too.
01:32:27 --> 01:32:30 [SPEAKER_00]: It just seems random, like they might as well like why not poke him on.
01:32:30 --> 01:32:33 [SPEAKER_00]: Like you could be playing magic the gathering.
01:32:34 --> 01:32:37 [SPEAKER_06]: That's going to be a very very into it.
01:32:37 --> 01:32:42 [SPEAKER_00]: My mom and there I think there is my mom does this and she's quite far behind, but she listens.
01:32:42 --> 01:32:46 [SPEAKER_00]: It's like on a long trip with my dad, they'll put it going on and my dad will zone out probably.
01:32:47 --> 01:32:50 [SPEAKER_00]: It sounds like there are power dynamics when you're playing with buddies playing.
01:32:52 --> 01:32:58 [SPEAKER_05]: But now that my mom said to quote, prove those bitches at the senior center wrong, that's her words.
01:32:58 --> 01:32:59 [SPEAKER_03]: Wow.
01:32:59 --> 01:33:03 [SPEAKER_05]: And she has, she's, she's set a goal for herself and she met that goal.
01:33:03 --> 01:33:04 [SPEAKER_05]: And now she's the queen.
01:33:04 --> 01:33:05 [SPEAKER_00]: Wow.
01:33:05 --> 01:33:06 [SPEAKER_05]: She's one.
01:33:06 --> 01:33:06 [SPEAKER_05]: She won.
01:33:06 --> 01:33:08 [SPEAKER_05]: So maybe we'll just do what she says.
01:33:09 --> 01:33:12 [SPEAKER_00]: I have a higher appreciation for Neil Diamond now that I live near Boston.
01:33:13 --> 01:33:15 [SPEAKER_05]: because of sweet Caroline right.
01:33:15 --> 01:33:16 [SPEAKER_00]: It's never time to go to a red sauce game.
01:33:17 --> 01:33:17 [SPEAKER_00]: Everybody's got to do it.
01:33:17 --> 01:33:20 [SPEAKER_05]: But I'd like to talk about in person in Neil Diamond in person.
01:33:20 --> 01:33:21 [SPEAKER_05]: Here's what's going on there.
01:33:21 --> 01:33:24 [SPEAKER_05]: Or like Elvis in person.
01:33:24 --> 01:33:25 [SPEAKER_05]: Here's what's going on there.
01:33:26 --> 01:33:26 [SPEAKER_00]: All right.
01:33:26 --> 01:33:27 [SPEAKER_00]: Last one.
01:33:27 --> 01:33:32 [SPEAKER_00]: We've got one more feedback and interestingly, I chose to do these basically in order of receive.
01:33:32 --> 01:33:33 [SPEAKER_00]: Wow.
01:33:33 --> 01:33:34 [SPEAKER_00]: Which I've never done before.
01:33:34 --> 01:33:36 [SPEAKER_00]: Normally I mix them up for a variety.
01:33:36 --> 01:33:38 [SPEAKER_00]: I was like, no, let's just do it authentically.
01:33:39 --> 01:33:47 [SPEAKER_00]: So this one is from Marilyn R. Pukula, resident Tolken's scholar and librarian of the Lauren Hound's community.
01:33:47 --> 01:33:49 [SPEAKER_05]: And like Witchie too, and a really fascinating way.
01:33:50 --> 01:33:52 [SPEAKER_00]: So Marilyn said multiple
01:33:53 --> 01:33:56 [SPEAKER_00]: messages and one of them was talking about wicka.
01:33:56 --> 01:34:00 [SPEAKER_00]: We just mentioned wicka in our episode on psychics.
01:34:00 --> 01:34:00 [SPEAKER_02]: Yeah.
01:34:00 --> 01:34:03 [SPEAKER_00]: But I cut that one just for the sake of prioritizing this one.
01:34:03 --> 01:34:09 [SPEAKER_00]: But thank you for your thoughts on the intersections of basically she was talking about wicka and taro.
01:34:09 --> 01:34:11 [SPEAKER_00]: It's actually, it's in the discord, everybody.
01:34:11 --> 01:34:12 [SPEAKER_05]: Yeah, check it out.
01:34:12 --> 01:34:13 [SPEAKER_05]: That sounds awesome.
01:34:14 --> 01:34:14 [SPEAKER_05]: Just so cool.
01:34:15 --> 01:34:16 [SPEAKER_05]: Well, she asked for us here.
01:34:16 --> 01:34:17 [SPEAKER_05]: All right.
01:34:17 --> 01:34:23 [SPEAKER_00]: So she says, I'll remarrylin's comments and then some other related comments from TCS on the same episode.
01:34:23 --> 01:34:29 [SPEAKER_00]: So they're talking about the conversation recently about Michael Jackson and liking problematic artists.
01:34:30 --> 01:34:32 [SPEAKER_00]: Thank you for such a thoughtful, honest and difficult conversation.
01:34:33 --> 01:34:36 [SPEAKER_00]: Mark, if you hadn't brought up Wagner, I was going to.
01:34:36 --> 01:34:42 [SPEAKER_00]: And I don't think it's a stretch to say that Wagner was as influential in classical romantic music as fluid has been on psychology.
01:34:43 --> 01:34:47 [SPEAKER_00]: Wagner, you know, right at the Valkyries, super anti-Semitic dickhead, right?
01:34:48 --> 01:34:49 [SPEAKER_00]: That's not that's not Marilyn, that's Mark.
01:34:51 --> 01:34:58 [SPEAKER_00]: Ironically, one of the finest twentieth and twenty-first century conductors of Wagner's music has also had allegations of sexually interacting with minors.
01:34:59 --> 01:35:03 [SPEAKER_00]: And I still have that person's CDs of Wagner's music, and I still listen to them.
01:35:03 --> 01:35:05 [SPEAKER_00]: That's like double level.
01:35:05 --> 01:35:06 [SPEAKER_00]: Yeah.
01:35:06 --> 01:35:06 [SPEAKER_00]: A problematic.
01:35:07 --> 01:35:10 [SPEAKER_00]: When you've got problematic conductor playing problematic artist.
01:35:11 --> 01:35:19 [SPEAKER_00]: I think one of the points that was not raised is the extent to which our responses reflect how much we personally identified with the individual in question.
01:35:19 --> 01:35:29 [SPEAKER_00]: Perhaps one of the reasons why our rejections can be so intense and even revulsive is because we want to identify with our heroes, be they musical, athletic, etc.
01:35:29 --> 01:35:31 [SPEAKER_00]: I think what runs through many people's minds
01:35:32 --> 01:35:38 [SPEAKER_00]: is a version of, but you're like me, I identify with you, and what you did is something that I find positively hideous.
01:35:39 --> 01:35:43 [SPEAKER_00]: That means in order to keep myself clean, I have to resist you with all of my mind.
01:35:43 --> 01:35:47 [SPEAKER_00]: Nicole mentioned, accepting the dichotomy aspect of the workings of our minds.
01:35:48 --> 01:35:50 [SPEAKER_00]: The ability to hold two contradictory things together.
01:35:51 --> 01:35:57 [SPEAKER_00]: I would like to say that we also needed to develop the understanding that every single one of us contains the helpful and the harmful.
01:35:58 --> 01:36:00 [SPEAKER_00]: Choose your favorite dichotomous adjectives here.
01:36:01 --> 01:36:06 [SPEAKER_00]: And that knowledge can be even more frightening and threatening than the knowledge that one of our heroes has fallen off their pedestal.
01:36:07 --> 01:36:12 [SPEAKER_00]: The first go-to question of these circumstances is, well, what does that mean about me?
01:36:13 --> 01:36:16 [SPEAKER_00]: One wants to dissociate because I would never do that.
01:36:17 --> 01:36:23 [SPEAKER_00]: The larger view says all of us have the capacity to do exactly that, but differentiates us.
01:36:24 --> 01:36:29 [SPEAKER_00]: is those who do through circumstances beyond our control and or through our own choices.
01:36:30 --> 01:36:31 [SPEAKER_00]: Or so I see it.
01:36:32 --> 01:36:44 [SPEAKER_00]: Indeed, to turn these things on their heads a bit, when I consider Wagner and this particular conductor, I think how astounding it is, that's such incredibly beautiful, soulful, remarkable, and life-changing music can come from such flawed individuals.
01:36:45 --> 01:36:53 [SPEAKER_00]: Before we respond to that, I just wanted to read another follow-up comment from the discord and then we can just talk because it's all kind of of a piece.
01:36:53 --> 01:36:54 [SPEAKER_00]: This is from the TCS.
01:36:55 --> 01:36:58 [SPEAKER_00]: I had the same kind of journey that culminated with the Michael Jackson documentary.
01:36:59 --> 01:37:02 [SPEAKER_00]: For a long while, I actually only listened to Jackson five songs.
01:37:02 --> 01:37:05 [SPEAKER_00]: Since to my mind, that was before he was harming people.
01:37:05 --> 01:37:06 [SPEAKER_00]: Yes, my mind is special.
01:37:07 --> 01:37:15 [SPEAKER_00]: I still struggle to listen to this music, but agree that since no money from my listening to his songs goes to him, it makes it more palatable potentially.
01:37:25 --> 01:37:31 [SPEAKER_00]: So not to end on kind of a bummer statement, but I feel like both of those takes were very on point.
01:37:32 --> 01:37:33 [SPEAKER_05]: It's getting me thinking a lot.
01:37:33 --> 01:37:42 [SPEAKER_05]: I'm currently, you know, we're prepping to start our fall semester as professors and I'm writing this new course in the fall or I've written it and I'm starting to look
01:37:44 --> 01:37:47 [SPEAKER_05]: really operationalize these ideas of creativity and the subconscious.
01:37:47 --> 01:37:53 [SPEAKER_05]: And we're talking a lot in this course about psychopathology and creativity and how there's an intersection there.
01:37:54 --> 01:38:09 [SPEAKER_05]: And I'm offering a lot of different case studies on artists like visual artists and the musicians and filmmakers as well that have the kind of self disclosed and well documented psychopathology, which we can call mental illness.
01:38:10 --> 01:38:12 [SPEAKER_05]: And I'm starting to think
01:38:13 --> 01:38:16 [SPEAKER_05]: reading Maryland's thoughts and the TCS's thoughts here from discord.
01:38:17 --> 01:38:28 [SPEAKER_05]: Maybe creativity and madness or creativity and pathology is so closely linked than order to make solid creative output put you have to be flawed in some way.
01:38:30 --> 01:38:31 [SPEAKER_00]: Everybody's flawed.
01:38:31 --> 01:38:32 [SPEAKER_00]: Everyone's flawed.
01:38:32 --> 01:38:36 [SPEAKER_05]: And that's Maryland's point is that we all hold a devil and angel inside of us.
01:38:36 --> 01:38:37 [SPEAKER_05]: We, you know, Freud said that, too.
01:38:37 --> 01:38:45 [SPEAKER_05]: We all have these different, everyone has these different versions of ourselves that exist and how much is allowed to bubble up to the surface.
01:38:45 --> 01:38:51 [SPEAKER_05]: And I think with creative endeavors, you do have to pulse from some of the darkness to create good art.
01:38:52 --> 01:38:55 [SPEAKER_05]: I just, I just believe that all nations are like, yeah.
01:38:55 --> 01:38:57 [SPEAKER_00]: Sublimation isn't that where you take
01:38:58 --> 01:39:01 [SPEAKER_00]: the darkness and do something like this, right?
01:39:01 --> 01:39:10 [SPEAKER_05]: Yeah, it has to go somewhere and it, you know, some people have so much of it that it goes into the art, but also goes into other things, too.
01:39:10 --> 01:39:12 [SPEAKER_05]: Like it seems like Wagner was one of those people.
01:39:12 --> 01:39:19 [SPEAKER_05]: He had so much id that a lot went into the music, but there was still enough to go elsewhere.
01:39:21 --> 01:39:38 [SPEAKER_00]: I would say that I think one of the really powerful things to take from Maryland's points is the way that we react to them, the resistance, the sort of disgust and disappointment and bitterness when one of your heroes has fallen so to speak.
01:39:39 --> 01:39:54 [SPEAKER_00]: that it should also be a moment where you can look inward and see the potential for darkness in yourself and give, you know, I think we talked about having empathy for people who do terrible things, even as you condemn those terrible things.
01:39:55 --> 01:40:04 [SPEAKER_00]: And I think like while none of us can see us doing any of the things that Michael Jackson is accused of doing or that Wagner said or did,
01:40:05 --> 01:40:22 [SPEAKER_00]: you can recognize the things that you would maybe do have pushed too far that are maybe completely different and not as bad, but as see that darkness and allow that to, you know, give you some peace with making your choices of what are you consume or give you some peace with any feelings of self-doubt.
01:40:22 --> 01:40:26 [SPEAKER_00]: You have like, like, these are universal things, these dark sides are universal.
01:40:26 --> 01:40:33 [SPEAKER_05]: And we, you know, if you are someone that doesn't outwardly act on your
01:40:35 --> 01:40:49 [SPEAKER_05]: darkest impulses like maybe we can just chuck that up to you or nurtured in a way that protected you against those impulses and maybe Michael Jackson was nurtured in a way that gave space for those impulses to develop in a really outward presentation.
01:40:50 --> 01:40:50 [SPEAKER_05]: Right.
01:40:50 --> 01:40:52 [SPEAKER_05]: So we're all born.
01:40:52 --> 01:40:54 [SPEAKER_05]: I mean, John Locks, that we're all born as blank slate, right?
01:40:54 --> 01:41:00 [SPEAKER_05]: We're all born like just as masses that accumulate experience and accumulate emotion.
01:41:01 --> 01:41:14 [SPEAKER_05]: and accumulating like schemas to act on those emotions and maybe we all have that in us as a seed somewhere and sometimes those seeds can thrive and flourish even when they're not good for us.
01:41:15 --> 01:41:18 [SPEAKER_05]: And maybe that's what happened to Michael Jackson and like other artists that are problematic.
01:41:19 --> 01:41:22 [SPEAKER_00]: But well, thank you so much for writing in Maryland.
01:41:22 --> 01:41:23 [SPEAKER_00]: Thanks the TCS.
01:41:24 --> 01:41:24 [SPEAKER_00]: Yeah.
01:41:24 --> 01:41:26 [SPEAKER_00]: So that's it for feedback this time.
01:41:26 --> 01:41:27 [SPEAKER_00]: This is a mega episode.
01:41:27 --> 01:41:29 [SPEAKER_00]: I think this is the longest episode ever.
01:41:29 --> 01:41:30 [SPEAKER_05]: What?
01:41:30 --> 01:41:33 [SPEAKER_00]: I think so I maybe the Grammys episode is close to this long.
01:41:33 --> 01:41:36 [SPEAKER_00]: I mean we talked about ten albums or whatever coming up everybody.
01:41:37 --> 01:41:40 [SPEAKER_00]: One more regular episode.
01:41:40 --> 01:41:41 [SPEAKER_00]: Season one.
01:41:42 --> 01:41:45 [SPEAKER_00]: It's a surprise not surprise what the next topic is.
01:41:46 --> 01:41:52 [SPEAKER_00]: And then we do our little season one award show and then boom all new season two.
01:41:52 --> 01:41:53 [SPEAKER_05]: I can't wait.
01:41:53 --> 01:41:53 [SPEAKER_00]: We're very excited.
01:41:54 --> 01:41:55 [SPEAKER_05]: We're super excited.
01:41:55 --> 01:41:56 [SPEAKER_05]: Still doing it.
01:41:57 --> 01:41:59 [SPEAKER_00]: I love it when our episodes end with some kind of a zinger.
01:41:59 --> 01:42:01 [SPEAKER_00]: Do you want to just say a joke?
01:42:01 --> 01:42:03 [SPEAKER_05]: What do you call a fish with no eyes?
01:42:04 --> 01:42:07 [SPEAKER_00]: a flounder because they flounder around.
01:42:07 --> 01:42:08 [SPEAKER_00]: Lost.
01:42:11 --> 01:42:14 [SPEAKER_00]: Yeah, that's a, that's almost dad joke level.
01:42:14 --> 01:42:15 [SPEAKER_06]: Yeah, no, that's all I got.
01:42:17 --> 01:42:23 [SPEAKER_00]: Okay, Nicole, the outro credits, except this time you're from Boston and I'm from SoCal.
01:42:24 --> 01:42:29 [SPEAKER_00]: Never mind the music is like totally hosted by me, Mark Poppony and Nicole Vatcher.
01:42:29 --> 01:42:31 [SPEAKER_00]: I also totally produce.
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01:42:53 --> 01:42:54 [SPEAKER_05]: We'll try to answer them.
01:42:54 --> 01:42:56 [SPEAKER_00]: You're going to be all like, you can't get there from here.
01:42:57 --> 01:42:58 [SPEAKER_00]: Your mother's here.
01:43:00 --> 01:43:00 [SPEAKER_00]: All right, Mark.
01:43:01 --> 01:43:01 [SPEAKER_00]: Thanks for listening.